France is often described as one of the last Western economies that has not been able to reform itself in the face of globalization. Yet its economy has not fallen by the wayside, and it has even resisted the great recession that began in 2008. By interlinking historical, economic, and political factors, and by comparing France with other nations, this book offers keys for understanding the puzzle found in the development of France. Dynamics at work in the French case sidestep the usual injunctions--less state control or less rigidity in the labor market--and instead stress the importance of the construction of a long-term industrial strategy"--Provided by publisher.
The rise of China is ever-present in debates on globalisation and ongoing power shifts. In a time of rising international tensions, understanding the interdependencies between China's course and the world economy is ever more important. Often, the economic reforms under Deng Xiaoping after 1978 are emphasised. They initiated dramatic changes in China's economy and contributed to its ascent as a world power. In contrast, less attention has been given to the context in which these reforms were implemented. Philippe Lionnet analyses important adjustments in China's agricultural, industrial and foreign trade policies in the course of the 1970s as well as their origins. He shows how policy experiments and their limits shaped the path of the socialist state.
Cinema may be called a bastard art in both meanings of the word: because it is usually defined as a hybrid art form, obviously, but also, and perhaps more importantly, because it has been able to become formally as well as generically innovative mostly through adulterous relationships, thus making illegitimacy its grounding principle by preferring a blurred lineage to a legible succession. Trying to find what film is referred to in a sequence, therefore, amounts to establishing a clear family tree, which takes no account of the illegitimate unions, natural children and forgotten ancestors that are nevertheless part and parcel of film history. If that quest should still be conducted, its object, it seems, should not be one sole point of reference. The aim of this book is to create the opportunity of studying, and perhaps of rehabilitating, those shadowy corners of cinematographic creation and film memory, and to provide film studies, but also literature and Arts studies altogether, with a newly productive way of using such familiar notions as difference, quotation, reference, blending, hybridity, miscegenation or crossbreeding.
In this Prix Femina–winning memoir, a writer at the French satirical newspaper Charlie Hebdo recounts surviving the deadly terror attack on their office. On January 7, 2015, two terrorists claiming allegiance to ISIS attack the Paris office of the satirical weekly Charlie Hebdo. The event causes untold pain to the victims and their families, prompts a global solidarity movement, and ignites a fierce debate over press freedoms and the role of satire today. Philippe Lançon, a journalist, author, and a weekly contributor to Charlie Hebdo is gravely wounded in the attack—an experience that upends his relationship to the world. As Lançon attempts to reconstruct his life on the page, he rereads Proust, Thomas Mann, Kafka, and others in search of guidance. It is a year before he can return to writing, a year in which he learns to work through his experiences and their aftermath. Disturbance is not an essay on terrorism nor is it a witness’s account of Charlie Hebdo. It is an honest, intimate account of a man seeking to put his life back together after it has been torn apart. “A powerful and deeply civilized memoir.” —The New York Times
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