An insightful look at how East Asian notions of space transformed Western painting. This volume offers the first critical account of how European imports of East Asian textiles, porcelain, and lacquers, along with newly published descriptions of the Chinese garden, inspired a revolution in the role of painting in early modern Europe. With particular focus on French interiors, Isabelle Tillerot reveals how a European enthusiasm for East Asian culture and a demand for novelty transformed the dynamic between painting and decor. Models of space, landscape, and horizon, as shown in Chinese and Japanese objects and their ornamentation, disrupted prevailing design concepts in Europe. With paintings no longer functioning as pictorial windows, they began to be viewed as discrete images displayed on a wall—and with that, their status changed from decorative device to autonomous work of art. This study presents a detailed history of this transformation, revealing how an aesthetic free from the constraints of symmetry and geometrized order upended paradigms of display, enabling European painting to come into its own.
Taking a text-led approach, with the emphasis on more recent popular films, Studying French Cinema is directed at non-specialists such as students of French, Film Studies, and the general reader with an interest in post-war French cinema. Each of the chapters focuses on one or more key films from the ground-breaking films of the nouvelle vague (Les 400 coups, 1959) to contemporary documentary (Etre et avoir, 2002) and puts them into their relevant contexts. Depending on the individual film, these include explorations of childhood, adolescence and coming of age (Les 400 coups, L'Argent de poche); auteur ideology and individual style (the films of Jean-Luc Godard and Agnes Varda); the representation of recent French history (Lacombe Lucien and Au revoir les enfants); transnational production practices (Le Pacte des loups); and popular cinema, comedy and gender issues (e.g. Le Diner de cons). Each film is embedded in its cultural and political context. Together, the historical discussions provide an overview of post-war French history to the present. Useful suggestions are made as to studies of related films, both those discussed within the book and outside.
That Sweet Enemy brings both British wit (Robert Tombs is a British historian) and French panache (Isabelle Tombs is a French historian) to bear on three centuries of the history of Britain and France. From Waterloo to Chirac’s slandering of British cooking, the authors chart this cross-channel entanglement and the unparalleled breadth of cultural, economic, and political influence it has wrought on both sides, illuminating the complex and sometimes contradictory aspects of this relationship—rivalry, enmity, and misapprehension mixed with envy, admiration, and genuine affection—and the myriad ways it has shaped the modern world. Written with wit and elegance, and illustrated with delightful images and cartoons from both sides of the Channel, That Sweet Enemy is a unique and immensely enjoyable history, destined to become a classic.
The Poplars housing development in suburban Paris is home to what one resident called the “Little-Middles” – a social group on the tenuous border between the working- and middle- classes. In the 1960s The Poplars was a site of upward social mobility, which fostered an egalitarian sense of community among residents. This feeling of collective flourishing was challenged when some residents moved away, selling their homes to a new generation of upwardly mobile neighbors from predominantly immigrant backgrounds. This volume explores the strained reception of these migrants, arguing that this is less a product of racism and xenophobia than of anxiety about social class and the loss of a sense of community that reigned before.
The writing is superb... each (Nelles) guide is delightfully comprehensive, a solid source of reliable information for the traveller... All travel guides claim to be comprehensive, but we found Nelles Guides superior". -- Arizona Senior World "(The Nelles Guides are) . . . beautifully photographed . . . the maps are better than Insight's, and practical information is integrated with the text, not relegated to the end". -- National Geographic Traveller -- Quality writing, often by native writers -- Detailed sections on the history, culture, special features and festivals -- Accommodations, restaurant guides, sights to see, places to shop, how to get around
This book examines methods for linking osteo-archaeological data with historical and environmental sources to shed light on the living conditions of past populations. Covering all time periods from prehistory to the 20th century, it aims to construct models that capture plausible demographic dynamics from highly fragmentary evidence. Starting from the known in order to explore the unknown, this book presents a historical view of methods used in the past and present as well as proposes original ones. The paleodemographic methods presented in this handbook have been tested on anthropological and archaeological data and can easily be applied. This manual represents a fruitful collaboration between historical demographers and anthropological archaeologists who, with the help of mathematicians and statisticians, detail research that opens an important historical dimension to the discipline. Written in a readily understandable manner, it serves as an ideal resource for those wishing to interpret ancient bones in demographic terms.
Screenwriters have been central figures in French cinema since the conversion to sound, from early French-language talkies for the domestic market to lavish literary adaptations of the notorious 'quality tradition' of the 1950s, and from the ‘aesthetic revolution’ of the New Wave to the contemporary popular and auteur film in the 2000s. The first English language study to address screenwriters in French cinema, this volume will be of particular interest to scholars and students of French film and screenwriting. Taking a diachronic approach, it includes case studies drawn from the early sound period to the present day in order to offer an alternative historiography of French cinema, shed light on these overlooked figures and revisit the vexed question of film authorship.
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.