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The article discusses the small work, or opuscule, entitled "Introduction à la rhétorique" and believed to have been written by Catalan Franciscan, philosopher, and writer Raymond Lulle. Topics include the printer and bookseller who published the work, Josse Bade, in Paris, France, in 1515, the identity of the preface writer and French humanist, Remigius Rufus Candidus Aquitanus (Rémy Roussel), and the work being edited and published through the initiative of the Franciscan Bernardo Lavinheta.

Henri Gervex's large oil painting Autopsy at Hôtel-Dieu (1876) stages a medical scene in which male identities are depicted through visible signs of social, educational and class difference. Through an examination of the historical particularities and contradictions of medical and artistic manhoods, this paper explores the dissection room as a social space of masculinity and examines the complex hierarchical relationships amongst men in the Parisian medical world. By analyzing nineteenth-century conceptions of artists, interns, orderlies and corpses, this paper argues that different types of masculinities were performed, mobilized, enforced and produced through visual representations as well as professional cultures and discourses. [ABSTRACT FROM AUTHOR]

The article offers information on the link between the culture and commerce in the early eighteenth century in Paris, France and mentions the ways where the priority given to manners at the cost of commerce and economic well-being. Topics discussed include comparison between 'cultural capital'model of Paris by the model of contra-cultural economic capital observed in London, England, contrasting narratives presented by Miege and Muralt on the urban space and financial experiments of Law.

Copyright of Pouvoirs is the property of Editions du Seuil and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article focuses on Protestants and Bourgeois in Paris, France during the 18th century and examines the institutional structures of Paris through the prism of social and cultural history using the concept of notability and changes in the system of bourgeois notability in the city.

This essay considers how maps became implicated in historical inquiry, with particular reference to the city of Paris. Three interrelated episodes are discussed, from the early eighteenth century to the mid-nineteenth century, each associated with specific mapmakers and collectors whose activities shaped the early development of map history. These episodes reveal how maps were historicized in different ways in this period, initially as images created in the present to reveal the past and eventually as objects of historical interest in their own right. It is further argued that this intellectual shift was associated with a growing awareness, especially among state officials, that the study and collection of historic maps had important geopolitical implications. In tracing this story across three episodes in a single urban setting, the essay seeks to make larger observations about the relationship between the map as a visual representation, the map collection as an urban ‘assemblage’ of geographical information, and the city as a physical environment. [ABSTRACT FROM PUBLISHER]

Approaching the Revolutionary era from a transnational perspective, this article explores the rich exchanges and collaborations between radical British and French popular societies. Both early French political and antislavery societies adapted their associational strategies from Anglo-American examples – indeed, borrowing the word ‘club’ itself to describe such organizations. Most significantly, in November 1789, correspondence from the London Revolution Society directly inspired the founding of the Paris Jacobin Club, and the integrated national network the Jacobins formed consciously built from British designs. By 1792, active experimentation proliferated in both nations as the Jacobins radicalized, and their example boomeranged to motivate the creation of a more integrated radical political network in Britain, the London Corresponding Society. Utilizing club correspondence, radical newspapers and pamphlets, and personal communications between key members, this article seeks to demonstrate the applied power of Revolutionary cosmopolitanism and transnational epistolary connections. Whereas prior scholarship of these connections has been largely limited to the French Revolution’s influence on Britain, the extent of the British influence on the early Jacobins has been virtually ignored. This account attempts to highlight the rich mutual exchanges that inspired the most radical and influential movements of the Revolutionary age. [ABSTRACT FROM PUBLISHER]

During the first half of the nineteenth century, while Georges Cuvier ruled over natural history and the Muséum d'Histoire Naturelle (MHN) was at its institutional acme, a French banker and industrialist with a Swiss family background, Benjamin Delessert, was developing an important botanical museum in Paris. His private collection included both a rich botanical library and a massive herbarium: the close integration of these two dimensions, together with the magnanimity of Delessert's patronage, contributed to making this private institution a worthy rival to the powerful and state-funded MHN. Delessert's museum had the favor of both professional and amateur naturalists. Knowledgeable and dedicated assistants (Antoine Guillemin and Antoine Lasègue) curated the collections. Moreover, Delessert was an intimate friend of the Genevan botanist Augustin-Pyramus de Candolle. Although Delessert's herbarium followed the Linnaean order, the Delessert Botanical Museum (DBM) contributed to the development of Candolle's natural system, especially through the publication of costly volumes of engravings, the Icones selectae plantarum rariorum. This essay draws together the main steps in the evolution of Delessert's collections, stressing the interdependency between books and dried plants. It focuses on the DBM as a case of cooperation between institutional and amateur expertise, private and public collections, and field collectors and cabinet naturalists. [ABSTRACT FROM AUTHOR]

This paper examines two genealogical manuscripts, dating to 1518-19, connected to John Stuart, Duke of Albany: one currently in Paris, the other in the Hague. Examining these two works together demonstrates that some of the recent scholarship on the Hague Manuscript is inaccurate. A comparison shows that this manuscript is not the work, as frequently stated, of the Franco-Flemish rhetorician, Jean Lemaire de Beiges, but rather both manuscripts are the work of the same artist/author: Bremond Domat. Domat was employed by Albany for over a decade in Albany's home town of Mirefleurs in the Auvergne. These two manuscripts reveal a great deal about Albany's ambitions and priorities at a time when he was still Regent of Scotland, but also when his prominence was growing in France due to connections to the powerful Florentine Medici family. [ABSTRACT FROM AUTHOR]

Through a comparison of the Life of Saint Godelieve of Gistel and a group of marriage separation cases from a fourteenth-century Parisian Archdeacon's court, the author argues that there was a cultural expectation of affection within medieval marriages. Saint Godelieve, who was murdered by her husband because of his overwhelming hatred for her, became the patron saint of difficult marriages. Her husband's words before he had her killed were a way to convince her to go willingly to her death and paint an idyllic picture of the marriage that could have been. In a similar way, the court cases in the Archdeacon's court of Paris present failed marriages including the reasons why the couples wanted to separate, and why the court agreed to permit them to do so. The court notary's use of odium [hatred], rancor [rancor], and inimicitia [enmity] as the primary and secondary reasons for numerous legal separations indicates the importance of marital affection to the court, and to society. [ABSTRACT FROM AUTHOR]

The article offers information on prayer books and the history of books of hours found in the collections of governor Sir George Grey at the National Library of South Africa. Topics discussed include the devotional use of prayer books, aspects of book design and printing, and the publication of prayer books in Paris, France.

This article explores the cultural and social impact of the world's first mass public transit system by highlighting its impact on time instead of space. Time allows us to see how public transit imbricated small-scale and large-scale practices, channelling vast numbers of private goals and generating new kinds of collective and subjective experience. The reliability and ubiquity of the system transformed movement into a calculation between time, energy and money. This redefined the organization, perception and rhythms of activity within the daily cycle and transformed the geographical distribution of services. It thus created new forms of discrimination related to access. [ABSTRACT FROM AUTHOR]

This paper analyses the connections between nineteenth-century courtrooms, academies, and laboratories by focusing on the life and works of Mateu Orfila (1787-1853), one of the most famous nineteenth-century toxicologists. At the apex of his career, Orfila moved regularly between his laboratory and his chair at the Paris Faculty of Medicine to meetings of the Academy of Medicine, and the courtrooms in which he was frequently called upon as an expert witness in murder trials. Tracing Orfila's biographical path, this paper deals with four main sites of nineteenth-century toxicology: classrooms, salons, academies, and courtrooms. These sites are understood as both tangible places, whose material features shaped the activities taking place inside, and social and cultural constructs, which constrained, enabled, or encouraged particular practices concerning medicine, science, and law. I pay attention to their location and physical shape, the explicit or implicit rules concerning access and exclusion, and the roles their different inhabitants were expected to play. Finally, I discuss how Orfila's movements contributed to the circulation of data, objects, concepts, epistemic values, and experimental practices from one site to another, which produced some hybridisation of courtrooms and laboratories, classrooms and academy halls. I claim that a biographical approach provides a privileged perspective from which to discuss how physical environment constrains scientific practice, while enlarging our 'map' with new spaces and resources for studying the circulation of historical actors, ideas, practices, and material culture at different scales of analysis. [ABSTRACT FROM AUTHOR]

When Don Carlos premiered at the Paris Opéra in March 1867, there was considerable excitement among critics about the prospect of a new work from one of Europe's most famous and popular living composers. In the event, the opera's reception was riddled with inconsistencies and contradictions. The fundamental problem was the work's ambiguous position: as a new grand opera appearing at a time when Parisian operatic culture was centered ever more on old masterpieces. Moreover, the new work's length (although characteristic of its genre) seemed ill suited to performance in Second Empire Paris, where the pace of life was felt to be constantly accelerating. In this article I ask how and why Don Carlos--a work judged by many critics to be the epitome of "modem" Verdi--was so at odds with broader conceptions of Parisian modernity. Focusing particularly on the Act IV Duo between Philip II and the Grand Inquisitor, I explore how aspects of the scene's musical unfolding foreground tensions between an increasingly prominent operatic past and an imagined operatic future. Ultimately, I argue that the opera's reception was saturated with concerns about an emerging phenomenon of "canonic listening": an ideal encounter with music extending over countless repeated hearings and predicated on the value of sustained, concentrated engagement with a complex musical surface. [ABSTRACT FROM AUTHOR]

Copyright of Urban History Review / Revue d'Histoire Urbaine is the property of University of Toronto Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

From May to November 1931, the Exposition coloniale internationale was held in Paris. Publicized as a trip around the world in a single day, it was designed to stimulate investments and general enthusiasm for the colonies. Along with exotic temporary pavilions representing the various colonies, model villages inhabited by colonial natives, and pavilions representing commercial product brands and other colonial powers, the exposition included a zoo and an aquarium featuring animals from the colonies. Installing a large aquarium had been a costly and difficult process, and construction was plagued by many delays and problems. But when the aquarium finally opened a few months into the exposition, it quickly became a favorite of the public. With the double mission to provide a living synthesis of the products of the warm waters of the French empire and give visitors a sense of the diversity, beauty, and economic resources of their colonial possessions, the aquarium functioned as a panorama that presented a striking visual metaphor for the empire. This article follows the aquarium during the exposition and in the years that followed. We explore its place in the history of aquaria in general and pay particular attention to its role in the exposition and within the French colonial context of the 1930s and onward. Here, both the scientists in charge of the site and the aquatic animals living in its tanks and terrariums provide a window into the relationship of marine biology, public education, consumerism, and colonialism at mid-twentieth century. [ABSTRACT FROM AUTHOR]

Several excerpts from the journals of author Roger Shattuck during his time in Paris, France from August 1947 until July 1948 are presented, noting topics including the thought of documentary filmmaker John Grierson, his relationships to homosexual men, and his opinions on author Norman Mailer.

This essay considers the politics and patronage of geography in early-modern France. It examines how the Paris Academy of Sciences, widely acknowledged as the 18th century's pre-eminent scientific society, came to recognise geography as an independent science in 1730, a century before the establishment of the first geographical societies. Although the Academy was centrally concerned with cartography from its inception in 1666, it initially afforded no official status to geography, which was viewed either as a specialised form of historical inquiry or as a minor component within the hegemonic science of astronomy. The rise of Newtonian mathematics and the associated controversy about the shape of the earth challenged the Academy's epistemological foundations and prompted a debate about the educational and political significance of geography as a scientific practice. The death in 1726 of Guillaume Delisle, a prominent Academy astronomer-cartographer and a popular geography tutor to the young Louis XV, led to a spirited campaign to elect Philippe Buache, Delisle's protégé, to a new Academy position as a geographer rather than an astronomer. The campaign emphasised the social and political utility of geography, though the Academy's decision to recognise this new and distinctively modern science was ultimately facilitated by traditional networks of patronage within the French Royal Court. [ABSTRACT FROM AUTHOR]

The article discusses the 19th century Expositions universelles, or World Fairs, in Paris, France, focusing on criticism of the visual culture of the events by writers including Victor Fournel, G. D'Azambuja, and Benjamin Gastineau. Other topics include critics idea that the visual culture of the Expositions detracted from the event's goals, the influence of the 18th century Enlightenment ideas on the Expositions, and the desire for sensory pleasure over true understanding in France.

The article discusses the secularization of guilds in Paris, France during the 18th century, focusing on government policies that led to the secularization. Other topics include the history of the relationship between Paris guilds and their Catholic confraternities, government regulation of guild spending on confraternities, and information on the disintegration of confraternities in 1776. It also discusses the shift towards viewing religion as a private matter rather than public.

ABSTRACT: This article examines a confrontation at the Exposition Universelle in Paris in 1867 between the Tokugawa shogunate and the domain of Satsuma. The confrontation was provoked by the latter, which used its control over the Ryukyu Islands, the services of a minor Franco-Belgian nobleman, and the opportunity of the international exhibition to demonstrate its independence from and equality to the shogunate. The episode was incidental to the collapse of the Tokugawa state later that year, but is a useful microcosm through which to understand the relationship between domestic considerations and international relations in the constitution of the modern state. Most accounts of modern Japan tend to be premised on the normative status of the latter, both as a natural container within which the early modern elements of the archipelago could be alchemized and as a soon-to-be sovereign actor on the international stage. This article argues, however, that this assumption is problematic. By the 1860s the order was clearly inadequate to the demands of the international system. The Meiji state, however, remained vulnerable to these, in ways the events in Paris suggest. The shogunate's difficulties underline the effort necessary to create the appearance of sovereignty, but also the extent to which its assertion and recognition is subject less to professed norms of equality and independence than the consequences of interest, industry, and empire. As such, it becomes clear that sovereignty can disrupt as much as it can clarify, undermining the order it seems to promise. [ABSTRACT FROM AUTHOR]

An essay is presented which discusses the 20th century Peruvian artist and poet César Moro’s transnational surrealist art. An overview of the time that Moro spent as an alien in foreign countries, including in regard to his relationship with French surrealist André Breton in Paris, France and in Mexico, is provided.

Copyright of Études Françaises is the property of Presses de l'Universite de Montreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Études Françaises is the property of Presses de l'Universite de Montreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Études Françaises is the property of Presses de l'Universite de Montreal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this article is to investigate the collection of Italian Renaissance art sold by the Vicomte Both de Tauzia to Richard Wallace in 1872, and to reconstruct as far as possible the artistic and historical background against which this collection took shape. Both de Tauzia, a curator at the Louvre during the French Second Empire, has thus far remained relatively unknown. Between 1867 and 1881, he travelled to Italy, where he purchased a number of valuable art works for the museum. These visits also provided opportunities for Tauzia to purchase works of art for his own collection. New archival documents essential to the understanding of the nature and provenance of works in the collection are presented here, together with information regarding his activities as an agent of the Louvre in Italy. [ABSTRACT FROM PUBLISHER]

The article disucsses physicians' use of electricity in medicine in 18th century Paris, France. An overview of electricity's status as a medical technology, including electrical machines' use in treating paralysis, is provided. An overview of the physician and ornithologist Pierre Mauduyt de La Varenne, including his use of electricity for therapeutic purposes at his home, is provided.

James Hazen Hyde (1876-1959) gathered the most comprehensive and diversified collection of artworks representing the Allegory of the Four Continents from the mid-sixteenth to the late nineteenth century. He also produced a number of well-researched studies on this iconographical theme. Hyde was born in New York but spent a major part of his life in Paris: this paper investigates his complex personality as a collector and sees how his beginnings in New York society of the Gilded Age and his subsequent transplantation into the Parisian milieu affected his collecting practices. Indeed Hyde embraced the model of the amateur, whose personal life is inseparable from his work: tending his collecting habit constituted his everyday activity. This paper will also argue that Hyde’s collection was intrinsically linked to the process of writing and, more specifically, to the writing of art history. [ABSTRACT FROM PUBLISHER]

The presence of North African colonial migrants during the interwar years spurred the Parisian Prefecture of Police to adopt some elements of colonial administration. From 1925 to approximately 1970, the Parisian police engaged in the specialized surveillance of the North African community. While official North African police services existed only from 1925 to 1945 and again from 1958 to 1962, a durable conception of North Africans as prone to violence and susceptible to anticolonial politics led the police to undertake systematic if at times unofficial surveillance of North Africans for the entire period under study. This colonial perspective on policing became integrated into the general policing of Paris and outlasted colonialism itself. [ABSTRACT FROM AUTHOR]

One of the great intellectual conceits of the Western world in the nineteenth century was the invention of an artistic hierarchy, with the ‘fine arts’ considered more important than the ‘decorative arts’. This article investigates how the Western preoccupation with ‘fine arts’ affected the manner in which the Meiji period (1868–1912) Japanese government exhibited its nation's rich tradition of arts at international expositions. Expositions were the great arenas for industrial and cultural competition. The categorization of many of Japan's art forms as ‘manufactures’ at expositions turned what was an academic distinction into a political and diplomatic issue. Historically there was no distinction between fine arts and decorative arts, with no words in the Japanese language to express such a distinction. However, the categorization raised the fear that Japanese civilization would be considered second rate when compared with the West. This article focuses on this issue at the international expositions in Vienna in 1873, where the position was first encountered, in Paris in 1878 where it came to a head and in Chicago in 1893 where it seemed a resolution had been reached in securing international acceptance of Japanese ‘decorative’ arts as fine arts. [ABSTRACT FROM PUBLISHER]

The article offers new information on the life and work of humanist professor and poet Johannes Vaccaeus (Juan Vázquez) of Murcia, Spain. The author discusses his last name and the hypothesis that he left the collège de Montaigu in Paris, France, in the fall on 1517 to go the college in Lisieux, France, to follow his master François Dubois, confirmed by a conserved summary of a plenary session at the Université de Paris dating from July 15, 1517. Vázquez's relationship with important Spanish figures such as Antonio Coronel and his work "Sylvia Parrhisia," written in 1522, are also discussed.

This article examines the multiple meanings attributed to the 1818 restoration of the statue of Henri IV in Paris within the context of the French Restoration's contest over memory. It first examines the meaning of Henri IV over time and the meaning of the statue's location, and then considers the meaning of the crowd in visual and textual depictions of the ceremony to restore the statue. The article argues that the statue of Henri IV at the moment of its 1818 resurrection simultaneously symbolized the legitimacy of the restored monarchy, reconciliation following a long period of civil conflict, and the legitimate authority of the crowd. [ABSTRACT FROM AUTHOR]

The article discusses Charles Le Brun, a seventeenth-century French painter and art theorist who worked for French King Louis XIV, focusing on his work designing altars for churches in Paris, France. It examines his designs for altars in the church of the Grands-Augustins, the church of Saint-Séverin, and the chapel of the University of Paris-Sorbonne. The author also comments on Le Brun's architectural influence and reflects on the context of his artistic ambitions as well as his career strategies.

The article discusses coloratura dance arias and female singers in Paris, France during the Second French Empire, or the period 1852 to 1870. It notes that the coloratura dance aria genre combined melismatic singing with the social dance genres the bolero and the waltz. Specific singers considered include sopranos Marie Cabel and Caroline Carvalho. The author comments on coloratura as a modern art form and explores female vocality. Relationships between femininity, dance, and music are also addressed.

The article analyzes the history and myth surrounding three stone statues representing young women and located in public gardens along the right side of the Seine River in Paris, France. According to the author, these statues represent young female garment makers, referred to as midinettes, who used to stroll the public gardens of Paris toward the end of the 19th century. He discusses how these statues embody working-class women and how they offer a look into the history of gender relations.

The physiologies and mass-circulation literature of the July Monarchy launched the emergence of the flâneur in the French popular imaginary, and famously celebrated his acute, flexible, and discerning gaze. Yet, these texts sometimes represent imperilled flâneurs who inadvertently collide with the city; the cause of these accidents lies in their hyperopia and subsequent failure to perceive the closest and most pedestrian details of the Parisian street. This farsightedness itself results from distraction in the French senses of the term: as both absentmindedness (la distraction) and social entertainment (les distractions), the flâneur's distraction belongs to him as much as to Paris itself. The accidents that it causes question the stability of the flâneur as a social type, and eventually of social taxonomies themselves. [ABSTRACT FROM AUTHOR]

Since the eighteenth century and the industrial revolution, cities have experienced great changes in their metabolism, and particularly in their energy consumption: transitions from one energy source to another, growing per capita consumption, and total consumption to cite but a few. These changes also impact urban energy supply areas and supply distance. This paper estimates Paris's energy demand in both final and primary terms since the eighteenth century and gives an illustration of long-term socio-ecological interactions in an interdisciplinary perspective, connecting energy flow analysis, and historical research. It gives an overview of energy supply areas and assesses the distance between supply sites and the city. Paris's annual total energy requirement (TER) was about 19 GJ per capita at the beginning of the eighteenth century and reached 30 GJ per capita in 1800; the supply area remained nearly the same with an average supply distance (D) of 200 km. During the nineteenth century, Paris's population increased fivefold, and energy transitioned from biomass to fossil fuel. Per capita TER remained stable, whereas Paris's supply area moved progressively toward coal basins, in connection with the tremendous change in transport systems. As a consequence, the D grew to 270 km around 1870. During the twentieth century, and especially since the Interwar period, per capita TER increased considerably (to 26 GJ/cap/year in 1910, 47 GJ/cap/year in 1946 and 126 GJ/cap/year in 2006). The internationalization of the energy supply and the shift to petroleum and natural gas also increased the remoteness of the supply sites: the D equaled 3850 km in 2006. [ABSTRACT FROM AUTHOR]

The aim of this study is to explore the urban and/or industrial needs for non-ferrous metals (lead (Pb), copper (Cu) and zinc (Zn)) of Paris (France), a highly developed city conurbation, from the beginning of the nineteenth century to the present. Pb was necessary for the development of urban networks (Pb pipes), Zn for Parisian roofs and Cu for the development of boiler making and electricity. This study is based on economic statistics and shows that the situation evolved from a city transforming ores, having its smelters and transforming metal into goods, to a city where metal smelting has been more or less quickly banned, and where only a small activity of metal transformation into metal-containing goods remains. The patterns of the three metals showed slight differences. The deindustrialization of Paris is also accompanied by a change of the supplying areas over time. Ores were always imported from abroad, because of the lack of French non-ferrous metal mines. But foundries, which were first abroad, had developed in France between the late nineteenth and late twentieth century and were again found abroad at the end of the twentieth century. The transformation of metal into goods left Paris to the benefit of other parts of France first, then of abroad, over time. In a second part, the evaluation of Pb consumption per capita in Paris conurbation shows that Pb needs of Paris conurbation were higher than those of France in the nineteenth century. Then, the Paris demand was satisfied and it became lower than that of France. Both the deindustrialisation of Paris conurbation and its lower needs led to a decrease in the relative weight of Paris for non-ferrous metals, compared to other parts of France. [ABSTRACT FROM AUTHOR]

The food supply to a large metropolis such as Paris involves huge fluxes of goods, which considerably impact the surrounding rural territories. Here, we present an attempt to localise Paris food supply areas, over a period of two centuries (1786, 1886, 2006), based on the analysis of data from transportation and production statistics for cereals, animal products, and fruits and vegetables, all three categories being expressed in terms of their nitrogen (i.e. protein) content. The results show contrasting trends for the three types of agricultural products. As for cereals, the Paris supply area remained for the most part restricted to the central area of the Paris basin, a region which gradually became specialised in intensive cereal production. Conversely, as animal farming had been progressively excluded from this area, regions located west and north of Paris (Brittany, Normandy, Nord-Pas-de-Calais) gradually dominated the supply of animal products to the metropolis. In addition, imported feed from South America today contributes as much as one-third of the total ration of feed in the livestock raised in these regions. For fruits and vegetables, about one-half of the Paris supply currently comes from long-distance imports, the other half coming from areas less than 200 km from Paris. As a whole, the Paris food supply area, although it has obviously enlarged in recent periods, is still anchored to an unexpected extent (about 50%) in its traditional nearby hinterland roughly coinciding with the Seine watershed, and in the regions specialised in animal farming located west and north. On the other hand, the agricultural system of the main food supply areas has considerably opened to global markets. [ABSTRACT FROM AUTHOR]

In contrast to a familiar assimilation model whereby peasants were "transformed into Frenchmen," this study of Limousin migrant masons illustrates how occupational specialization, rural-based social networking, and circular migration strategies encouraged residential concentration in Paris in the second half of the nineteenth century. After addressing circular migration and the characteristics of the building trades that promoted social networking, this study draws on census and electoral records to map the boundaries of Limousin solidarity in Paris during the Third Republic (1871-1914). Rather than constituting a "colony," Limousin migrant masons established "microcommunities" based on familial and village-based social ties. The article concludes with an analysis detailing the functions of residential concentration by considering how collective living arrangements in hôtels garnis (boardinghouses) enabled the procurement of work, maintained the cohesion of the work team, and promoted links connecting Paris to the Departments of the Haute-Vienne and the Creuse in central France. [ABSTRACT FROM AUTHOR]

As a response to Susan Sontag’s classic writing on the poster, this essay analyses the phenomenon of the French ‘pictorial’ publicity poster, which developed in concert with a specific type of spectatorship delineated in contemporary poster criticism as linked to the city of Paris at the end of the nineteenth century. By comparing the collective reading of political placards and announcements in the early modern period to the hurried viewing of illustrated publicity posters at the dawn of the consumer economy, this essay contextualizes the poster’s spectatorship as dependent upon its conditions of public display in Paris after the city’s renovation and rationalization under Haussmannization. [ABSTRACT FROM PUBLISHER]

Mike Devereux sets out to explode the myth that London is an organic, unplanned city shaped by economic forces, and Paris is, in contrast, a planned city moulded by the state. He describes the many similarities that the two cities share and how planning ideas in fact 'flowed between the capitals' during the Haussmann era. Copyright © 2012 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

An essay is presented that discusses the life and work of author Blaise Cendrars. Topics include the author's experiences as an American living in Paris, France, Cendrars's book "Moravagine," and the relation of art, music, and film to his writing. Cendrars's friendship with artist Fernand Léger is addressed.

The article discusses the activities of women in the economic history of micro finance in Early Modern Europe, with a focus on the case of Paris, France, in the 18th century. Topics discussed include background on the areas in which women participated in the economy during this time, as well as the development of economic opportunities for women; the history of the investment of dowries and inheritance, with reference to local credit and the credit allocated to women; and the financing of women's enterprises in the markets.