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In 1834 Karl Briullov's painting The Last Day of Pompeii became the first work of Russian art to attract international attention, earning a first-class medal at the Paris Salon after a laudatory response in Rome and Milan. Its European success made it the most significant Russian painting of the period. Despite its official recognition, its reception in the French press was largely, though not entirely, negative. The painting's complex reception stemmed from a reassessment of history painting, French perceptions of Italy and Russia during the July Monarchy, and misinformation about Briullov himself. [ABSTRACT FROM AUTHOR]

This essay examines the historical role of graphic maps and plans in the Parisian municipal bureaucracy during the nineteenth century. Maps and plans became an important means to consolidate and organize administrative activities related to the built environment. As recognition of the growing number of actors involved, laws were implemented requiring not only an image to build but requiring that they be orthographic. The emergence of orthographic images in building practices was not a consequence of the specific needs of construction per se but rather was informed by the social and political exigencies to standardize diverse practices, to coordinate a variety of actors, and to develop a centralized administrative structure to manage urban development. Yet, even with the strong motivation for conformity, maps and plans were impossible to fully standardize due to the particularities of each site. Accordingly, it was this tension that encouraged the production of ever more paperwork as the basis of an urban bureaucracy. [ABSTRACT FROM AUTHOR]

In the nineteenth century, aspiring artists from many parts of the world were going to Europe in search of artistic perfection. In Paris, like in the principal European capitals of the time, there existed wide networks of migrating artists, international exhibitions, and travelling artworks. This circulation of people and goods shaped the global art system and formed its underlying structure. Even if Latin American painters contributed to these networks and expanded them from Europe to the New World, their role in the establishment of the modernist canon is not yet fully recognized. Because of the reductive art historical narrative and the paucity of archival records, many names of Latin American artists have disappeared from art historical accounts, and many works of art have been held in isolation in the store rooms of peripheral museums, or disappeared into private collections. The significant absence of these painters, often explained in terms of their backwardness and derivative style, is here determined by the structural inequality between the artistic center for which they longed and the periphery from which they came. This article explores the trajectories of Latin American painters in Paris who participated in the Salons of the Société Nationale des Beaux-arts from 1890 to 1899, and revisits their position in the modern canon. [ABSTRACT FROM AUTHOR]

Because of the scarcity of data, there are few quantitative analyses dealing with clandestine markets, despite their prime importance during wartime. This article exploits a unique database of daily prices of gold coins traded in occupied Paris in order to gain insights into the price formation on such a market. First, using data from Switzerland, we show that arbitrage took place, despite the costs and risks involved, and led to a gradual (but incomplete) convergence of gold prices. Furthermore, a study of price seasonality reveals that less strict borders controls during the weekends made the volatility of returns higher at the start of the following week. Second, on the basis of an event study, we provide evidence that laws related to black markets did not have a significant impact on the gold price, except for the most severe law passed on 8 June 1943 which greatly increased the sentences for involvement. Finally, we assess whether the so‐called coin premiums existed on this clandestine market, and show that the large price variations for one gram of fine gold contained in different coins were due to market participants' preferences for specific gold coins. [ABSTRACT FROM AUTHOR]

This article offers a microhistorical perspective on interethnic violence. It focuses on a fait divers that took place in 1900 near Paris and was widely construed as a result of ethnic antagonism. Drawing from a multitude of archival records, the article critically assesses the retrospective accounts of that multi-participant fight, and resituates it in its social context. It argues that a variety of factors were at play, among which ethnicity was not dominant. This assessment emerges from a close analysis of the combatants' background and contingent rivalries, as well as an examination of structural causes such as hyper-masculinity and alcoholism. [ABSTRACT FROM AUTHOR]

Urban histories of nineteenth-century France have tended to focus on Paris and emphasize state actions. This has obscured movements that were crucial in shaping modern cities, particularly segments of civil society that worked on preserving old neighborhoods. This article focuses on Lyon—a "second city"—and analyzes how state-driven urban renovations under the Second Empire fostered a fin-de-siècle localist reaction that sought to preserve what was seen as Lyonnais urban forms (in particular neighborhoods defined by their narrow and crooked streets). Through an antiquarian discourse, cultural elites argued that these urban forms were an essential part of Lyonnais identity—which they feared was being infringed upon by Paris. The actions of these prideful and anxious Lyonnais show that antiquarian history was, in fact, a modern phenomenon that played a key role in shaping the modern city. [ABSTRACT FROM AUTHOR]

This article melds family history with History, tracing the lives of my daughter's grandparents, Marcelle Libraty and Pinhas Cohen. Products of the social mobility and integration offered by the Alliance israélite universelle, they became schoolteachers in Morocco and opted for France after independence. Currently in their eighties, Marcelle and Pinhas's lives are connected to sweeping events in history: French colonialism, Vichy anti- Semitism, Moroccan independence, Jewish emigration. Inspired by Ivan Jablonka's L'Histoire des grandparents que je n'ai pas eus, I experiment as both narrator of the past and participant in the family story, and demonstrate new ways of writing history. This auto-historiographical project shows how a family succeeds in preserving identities of origin and maintaining relationships despite socio-political upheaval and global mobility. [ABSTRACT FROM AUTHOR]

The article presents the author's views on Prague, Czech Republic as the capital of the 20th century and the essay "Paris, Capital of the 19th Century" by Walter Benjamin The essay was reportedly written in two versions and released in May 1935 and May 1939. A brief profile of Benjamin is provided who committed suicide on September 25, 1940. Also discussed are surrealist poet Louis Aragon, the age of extremes, and the events in Europe in the 19th century.

The article discusses the publication of pamphlets in Paris, France, within the context of the French Wars of Religion and the reign of Henri III, King of France. Particular emphasis is given to the pamphlets' discourse on the recent past in an effort to demobilize the French Catholic League, an organization which aimed to drive all Protestants out of France, including the assassination of Henry, Duc de Guise, on December 23, 1588.

The French historian Michel Rey explored patterns and changes in the sodomitical subculture of eighteenth century Paris in a series of articles published in the 1980s and 1990s and based largely on one series of police records from the period 1715–50. Other sources, some known and others unknown to Rey, have been analysed or located since the 1990s, so it is time to review and revise his conclusions. These sources require us to revisit his questions about demographics and mentalities, identity and community, surveillance and repression, and consider other questions about same-sex relations in the context of the Ancien Régime. This article outlines an agenda for the next round of research in the Archives of the Bastille in the Bibliothèque de l’Arsenal and several series of police and ministry records in the Archives Nationales, which will take more than a few years to complete. It discusses the variety of documents to be digested, presents some sample sources and early findings, and suggests avenues for further inquiry, with the objective of pursuing, expanding and refining the work of the pioneering historian of this subject and connecting the history of same-sex relations with other issues (hierarchy, migration, friendship, popular attitudes, categories of difference and more) in French history. [ABSTRACT FROM AUTHOR]

Contrary to what law and finance theory would predict, the Paris Bourse was highly liquid at the turn of the twentieth century: the traded volumes amounted to four times the French GDP. This magnitude was mainly due to forward trading. The Bourse had developed as a forward market, despite a ban on forward transactions. The guild-like body running the Bourse played a key role in legitimizing and legalizing these operations, previously equated with gambling. The 1885 legalizing act initiated a new field of law (‘securities law’) and paved the way for the heyday of the Paris Bourse. [ABSTRACT FROM PUBLISHER]

Founder of the most widely known matrimonial agency in postrevolutionary France, Claude Villiaume proved his talents as an enterprising ad man who exploited the uniquely commercial format of the Parisian Petites affiches to establish a virtual monopoly on the business under the Empire. Offering to serve as a conduit for men and women who pursued love anonymously in the Petites affiches, he skillfully marketed his "marriages by the classifieds" to lonely, uprooted individuals throughout imperial France. Villiaume pitched his unions as part of a new commercial and social world of movement in Paris. He sought to facilitate the circulation of capital and people by forging family alliances and love matches across multiple social and geographic borders. By linking marital choice and courtship to the vagaries of consumer capitalism, the agent transformed marriage into a form of commercial exchange associated with the new urban values of abundance, pleasure, and social mobility. [ABSTRACT FROM AUTHOR]

Rococo art and Enlightenment science, both of which flourished in Paris from 1710 to 1740, appear to have embodied two different sets of values. But the stylistic differences between them dissolve in their common concern with making and manipulating substances. Scientists at the Paris Academy of Science, especially René Réaumur and Charles Dufay, experimented on many of the same substances that artists used, often exploiting the same properties. Studying style and substance together brings out the connections between art and science and shows the value of respecting these two disciplines when writing their history. [ABSTRACT FROM AUTHOR]

Between 1936 and 1938, Jewish Communists in Paris began a formal campaign to encourage children to participate in their Yiddish community-building project, as a means of engaging whole families, especially women. The use of both Yiddish and French in the Communist Yiddish-language daily newspaper Naye preseand the work of children's poet Dovid Pliskin shows how Jewish Communists in Paris, surprisingly, tried to expose a wide range of Yiddish speakers in Paris to what might be seen as a particular and distinctive sort of diaspora nationalism. Additionally, the study of Jewish children in interwar Paris sheds new light on intersections and overlap between Yiddish-speaking immigrant Jews and the French left. [ABSTRACT FROM AUTHOR]

Although the Paris Catacombs have been a popular space in Paris since opening to the public in 1809, this is the first academic study that seeks to situate the public ossuary within a postrevolutionary context. By examining both the early institutional history and popular reception of the Catacombs, this article demonstrates how the Catacombs were instrumental in helping the population process and resolve the dislocation of the Revolution. Specifically, it examines how visitors used the underground space to express anxieties about revolutionary values like equality and to create a sense of historical stability after the Revolution's radical rupture with the past. [ABSTRACT FROM AUTHOR]

Copyright of Tocqueville Review -- La Revue Tocqueville 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.)

The French reception of Wagner is often based on the two pillars of the 1861 Tannhäuser production and that of Lohengrin in 1891. Sufficient is now known about the composer's earliest attempt to engage with Parisian music drama around 1840 to be able to understand his work on Das Liebesverbot, Rienzi, Der fliegende Holländer, his editorial and journalistic work for Schlesinger, and his emerging relationship with key figures in Parisian musical life, Meyerbeer most notably. A clearer picture is also beginning to emerge of Wagner's position in French cultural life and letters in the 1850s. Wagner's position in Paris during the 1860s, culminating in the production of Rienzi at the Théâtre-Lyrique in 1869, is however complex, multifaceted, and little understood. Although there were no staged versions of his operas between 1861 and 1869, the very existence of a successful Parisian premiere for an opera by Wagner in 1869--given that there would be almost nothing for two decades after 1870--is remarkable in itself. The 1860s furthermore saw the emergence of a coherent voice of Wagnérisme, the presence of French Wagnéristes at the composer's premieres all over Europe and a developing discourse in French around them. This may be set against a continuing tradition of performing extracts of Wagner's operas throughout the 1860s, largely through the energies of Jules Pasdeloup, who--as director of the Théâtre-Lyrique--was responsible for the 1869 Rienzi as well. These competing threads in the skein of Wagnerreception in the 1860s are tangled in a narrative of increasingly tense Franco-German cultural and political relationships in which Wagner, his works, and his writings, played a key role. The performance of Rienzi in 1869 was embedded in responses to the Prussian-Austrian War of 1866, the republication of Das Judenthum in der Musik in 1869, and the beginnings of the Franco-Prussian War. [ABSTRACT FROM AUTHOR]

Henry Miller’s Tropic of Cancer (1934) provides a unique modernist representation of the economic warfare of the Great Depression, as evident in Miller’s claims for ‘‘going off the gold standard.’’ This essay explores what such claims reveal about the connections between economic regimes and the symbolic structures which underpin both cultural production and the experience of everyday life. In his depiction of prostitution and embodied transactions, Miller offers alternate modes of circulation and currency, which challenge existing economic structures and literary genres and the ways they regulate and reify conventional values. In his attempts to create a language and form that ‘‘flow,’’ Miller reveals how nationalism, economic strictures, and literary conventions promote hoarding, create conflicts, and mask the experience of everyday life. Miller presents individual performances and exuberant excess as an antidote to harsh economic policies in a way that speaks to today’s debates about ‘‘hard currency’’ and the need for austerity economics. [ABSTRACT FROM AUTHOR]

The article discusses the policies towards stray dogs in Paris , France during the long nineteenth century between the French Revolution and the start of World War I. Topics considered include public opinion regarding strays, comparisons between criminals and stray dogs, public health and hygiene and problems with rabies, urbanization, vagrancy, modernization, and the rise of pedigree dogs as pets.

The article talks about the life of Jean François de Rougemont, an infâme which is a man who seeks sex with other men. Topics discussed include men seeking male sexual partners in public spaces in eighteenth-century Paris, author Michel Rey's articles exploring sexual relations between Parisian men, and the arrest of Jean Travers, a sexual partner of Rougemont.

Copyright of Canadian Bulletin of Medical History 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.)

Before Napoleon, most histories tell us, the Paris fire service was totally inadequate. This changed only with the creation of the sapeurs-pompiers, a well-trained military force that became the model for other nineteenth-century fire brigades. Before the introduction of paid, uniformed firemen, fire-fighting arrangements are dismissed as brave but amateurish and ineffective. French histories, often written by former pompiers, invariably praise the military model as superior to all others. Looking at specific examples of fires in Paris, this paper argues that across the eighteenth century they were controlled and extinguished with growing success. Subsequently, however, the nature of fires in Paris changed as new industries, new products, and new types of buildings appeared. The creation of a modern fire service was, at least in part, a response to a new problem rather than to an eternal one. Even so, the Napoleonic model of organization was not as different from the old system as a reading of the regulations alone might suggest. Its introduction was also far more gradual, as authorities and urban populations struggled to understand and to adapt to the changes taking place. [ABSTRACT FROM AUTHOR]

Histories of the Paris Opéra often recount how popular the super-star composer became in Paris when in 1823 he came to lead the Théâtre-Italien, supposedly crushing all loyalty to the old canon of works by C.-W. Gluck and Antonio Sacchini. But a closer look at press reports discloses that several newspapers whose front pages displayed theater schedules--chiefly the Corsaire and the Courier des théâtres--led an intense campaign against the effort to expand Rossini's influence in Paris and championed the tradition of French opera dating from the arrival of Gluck there in 1774. Oriented toward middle-class people who could not afford many tickets to the Opéra, the papers in effect supported the opposition to the government, using attacks on Rossini as a means by which to advance the cause of political opposition. Best seen as defensive and patriotic, this movement came from a middle-class readership different from the educated elite which read the Journal des débats and included leaders of the liberal faction who focused their taste on Rossini. In 1827 the Corsaire openly opposed the government in the wake of its criticism of Le Siège de Corinthe, thereby establishing strong public opposition to the Rossinian repertory at the Opéra. [ABSTRACT FROM AUTHOR]

The article discusses the transformation of Paris, France as a center for postcolonial immigrant elite and anti-colonial nationalism between 1919 and 1938. Topics addressed include the Parisian cosmopolitanism that induced political movements, the nature of anti-colonial nationalism as one transcending community boundaries, and the living conditions of immigrants. Among the anti-colonialists who once resided in Paris are Ho Chi Minh of Vietnam, Zhou Enlai of China and Messali Hadj of Algeria.

The article discusses urban life in France. Topics discussed include media studies, urban environment studies by sociologists and urban planners and composer Georges Kastner. Further, other topics which includes poet Stéphane Mallarmé, phonography and book "Les Voix de Paris" by Kastner are also discussed.

The article discusses the history of women and scientific amateurism in Paris, France in the 18th century. It explores women's participation in natural history collecting and situates women collectors, such as Mme Dubois-Jourdain and Mme de Julienne, within masculine traditions of scientific amateurism. It also explores women's participation in science.

During the 1930s, Paris was home to approximately two million immigrants. Around 150,000 of these were Yiddish-speaking Jews from Eastern Europe who used Paris as the basis for a new Western European influenced Yiddishism and Diaspora Nationalism. This paper traces the high point of that interwar Parisian Yiddish internationalist cultural development, the Modern Jewish Culture pavilion at the 1937 World's Fair. Through an analysis that places the pavilion within its immigrant Jewish and interwar Popular Front Parisian contexts, this article argues that the Modern Jewish Culture pavilion represented the culmination of decades of leftist cultural work in Paris. The Modern Jewish Culture pavilion highlighted both universal and particular aspects of Yiddish culture and placed them on display in the most international way possible. Buttressed by the rise in European fascism, antisemitism, and antifascism, Yiddish culture-makers in Paris created a cultural display that presented a sophisticated, global, pan-leftist Yiddish culture that spoke to Jews and non-Jews around the world in an attempt to preserve the burgeoning global Yiddish culture and stave off fascism. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "Paris ville ouvrière, une histoire occultée 1789-1848" by Maurizio Gribaudi is presented. It states that the book is about the history of Paris, France, in early 19th century, which includes the social conditions, physical space, and demographic change in Paris. It is stated that the book is dedicated to the revolution of 1848 in Paris, and Gribaudi, uses an anti-reductionist approach for studying the historiography of Paris.

Copyright of Historia: Questoes & Debates is the property of Universidade Federal do Parana 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.)

Although scholars have studied the impact of black cultures upon French identities and interwar culture, the more fundamental relationship between black dance and the articulation of modern French, African diasporic, and American identities awaits critical treatment. Through an examination of references to the black entertainer Josephine Baker in journalism by Martinican intellectual Jane Nardal, French dance critic André Levinson, and American poet e. e. cummings, this article explores their ‘discursive encounters’ with black dance, which provides a language for these writers, artists, and intellectuals to grapple with their own modern subjectivities. [ABSTRACT FROM PUBLISHER]

This article offers new insights about the demonstrations organized by the FLN's Fédération de France in October 1961. Thousands of Algerians rallied in Paris streets to protest against a discriminatory curfew. The French police repressed these demonstrations with shootings and other lethal practices. Dozens of demonstrators were killed in one of the most brutal massacres perpetrated in Western Europe after the Second World War. Since the end of the 1980s, historians and activists proposed narratives of these events that mainly portray the Algerians as victims of a colonial repression that should be recognized by French authorities. But these demonstrations were also a moment of national pride for Algerians who had emigrated to France. They contributed to the political battle for Algerian independence through the echoes given by the international press: French authorities were challenged in Paris streets and they recognized they lost a symbolic battle. The reports written by men and women who demonstrated provide the main archival materials for a new narrative focused on the political agency of Algerian immigrants. [ABSTRACT FROM AUTHOR]

Algerian migrant workers in Paris inhabited café-lodging houses that became centers of clandestine political organization and terrorist networks before and during the War of Independence (1954-1962). The managers, with organizational skills and a certain authority over their clients, also provided the leadership for the local nationalist cells. In a situation in which the cell members also constituted the hotel clientele, in which the social life of the café was at one with that of the political meeting, it was difficult for the police to penetrate and gather intelligence on the organization. There followed a war of attrition between police and nationalists for the control of the café-hotels, in which the latter developed sophisticated commercial arrangements as a façade for collecting revenue. The Algerian nationalists, like other anti-state organizations, from the French Resistance to the Mafia, developed clandestine structures within the social networks of the café and "legitimate" commercial operations. [ABSTRACT FROM AUTHOR]

The article presents the author's views on his experience of visiting Paris, France, highlighting the city's history. Paris has reportedly become an interactive museum due to its historic sites including the Baroque Church of Saint-Roch where musician Hector Berlioz's "Messe solennelle" premiered. Also discussed are areas in Paris that are not often visited by tourists and the success of his book "The Paris Years of Rosie Kamin."