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Journal articles on the topic 'French noir'

Author: Grafiati

Published: 7 July 2024

Last updated: 31 July 2025

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1

Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (2021): 1–5. http://dx.doi.org/10.54254/ahr.2021001.

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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva

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Gegen, Gegen. "Femme Fatale in French Film Noir." Advances in Humanities Research 1, no. 1 (2021): 1–5. http://dx.doi.org/10.54254/2753-7080/1/ahr_001.

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The term film noir was coined by two French film critics Borde and Chaumenton in 1956 to describe American detective stories mode in the 1940s. Noir films were seen as a counter-cultural movement within Hollywood at that time, and the French new wave continued this feature in the 1960s. Therefore, the term noir itself connects the Frenchness and Americanness. This paper tends to map out the film noir sensibilities in French content through unfolding the characteristics of femme fatale in two French noir films Jean-Luc Godards A bout de souffle (Breathless) (1960) and Jean-Jacques Beineixs Diva

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3

Papadopoulos, Leonidas, Anna Poupou, and Eva Stefani. "The reception of American and French film noir in post-war Greece, 1945‐58." Journal of Greek Media & Culture 8, no. 1 (2022): 59–82. http://dx.doi.org/10.1386/jgmc_00047_1.

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The aim of this article is to examine the distribution, promotion and critical reception of American and French film noir in Greece from 1944 to 1958 and to shed light to the reasons of the belated appearance of Greek noir examples. It is based on archival research that was made in the framework of the project ‘Film noir in Greece: Reception, assimilation, and imitation of a US film genre, from the post-war period until today’ (National & Kapodistrian University of Athens), financed by the Operational Programme Human Resources Development, Education and Lifelong Learning, P.A. 2014‐20. Cri

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Wygoda, Tsivia Frank. "(Un)Mapping the “Pied-Noir Jew”: Indeterminacy and the Representation of Pied-Noirs and Algerian Jews in Contemporary French Cinema." MLN 138, no. 4 (2023): 1337–60. http://dx.doi.org/10.1353/mln.2023.a920094.

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Abstract: This article offers new reflections on the articulation of Pied-Noir and Algerian Jewish memory through the figure of the “Pied-Noir Jew” in French culture. The analysis of cinematographic materials and their literary sources shows how Algerian Jewish screen and stage artists participated in the creation in France of a nostalgic cultural community of Algerian Jews and French-European ex-settlers while also navigating the tensions and differences between Pied-Noir and Jewish memory of Algeria. The aporetic figure of the “Pied-Noir Jew” as a cultural and affective concept encapsulates

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Talarmin, Antoine, Bruno Vion, Abel Ureta-Vidal, Guénola Du Fou, Christian Marty, and Mirdad Kazanji. "First seroepidemiological study and phylogenetic characterization of human T-cell lymphotropic virus type I and II infection among Amerindians in French Guiana." Journal of General Virology 80, no. 12 (1999): 3083–88. http://dx.doi.org/10.1099/0022-1317-80-12-3083.

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We investigated the serological, epidemiological and molecular aspects of human T-cell lymphotropic virus type I and II (HTLV-I/II) infection in the Amerindian populations of French Guiana by testing 847 sera. No HTLV-II antibodies were detected, but five individuals (0·59%) were seropositive for HTLV-I. Analysis of the nucleotide sequences of 522 bp of the env gene and the compete LTR showed that all of the strains from French Guiana belonged to the cosmopolitan subtype A. The similarities were greater between Amerindian and Creole strains than between Amerindian and Noir-Marron strains or th

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Gorrara, C. "French and American Noir: Dark Crossings." French Studies 65, no. 2 (2011): 274–75. http://dx.doi.org/10.1093/fs/knr038.

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Hollister, Lucas. "The Green and the Black: Ecological Awareness and the Darkness of Noir." PMLA/Publications of the Modern Language Association of America 134, no. 5 (2019): 1012–27. http://dx.doi.org/10.1632/pmla.2019.134.5.1012.

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Ecocritical thought presents serious challenges for political readings of crime fiction and noir, notably in French and American cultural contexts, and these challenges merit a broad examination. How does the Anthropocene change our relation to the frames of intelligibility and the definitions of violence found in crime fictions? The scalar problems introduced by the cosmological perspectives of ecological awareness suggest the need to redraw the frontiers of noir, to imagine new green-black readings that transform our understanding of what counts in and as a noir novel.

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VRANČIĆ, Frano. "SENGHOR, BLACK POET." Lingua Montenegrina 13, no. 1 (2014): 239–77. https://doi.org/10.46584/lm.v13i1.397.

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Leopold Sédar Sengor (1906–2001) was a Senegalese poet, the first president of independent Senegal, founder of the Francophonie and the first dark-skinned member of the French Academy. Together with Aimé Césaire and Léon Damas, Senghor defined the concept of negritude in response to the extreme dominance of French culture in the colonies. Moreover, negritude became his guiding principle both in poetry and his career of a state official. He deemed that every African has separate and distinct innate qualities, refuting the assumption that Caucasian people were intellectually and culturally super

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Slyomovics, Susan. "A Settler Colonial Memorial Book: The Agricultural School and Museum of Sidi-Bel-Abbès, Algeria." Diaspora: A Journal of Transnational Studies 23, no. 2 (2023): 241–60. http://dx.doi.org/10.3138/diaspora.23.2.2023.07.30.

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In French colonial Algeria (1830–1962), a European settler community was made from both displacement and the encounter with Indigenous Algerian collectives. After Algeria's independence from France in 1962, this community was remade by a second displacement and the encounter in France with the metropolitan community. Known as Pieds-Noirs, this community has organized associative life, books, and newsletter publications, and sometimes return visits to Algeria. This article looks at Pieds-Noir settler associations devoted to Algeria's colonial agricultural schools, model farms, and nurseries, an

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Panuntun, Ari Bagus, and Lysa Osmani. "Romantic Primitivism and Literary Neocolonialism in Camara Laye’s Novel L’Enfant Noir." Poetika 11, no. 2 (2023): 61. http://dx.doi.org/10.22146/poetika.v11i2.87730.

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The article examines the depiction of romantic primitivism in Camara Laye’s novel L’Enfant noir (The Dark Child) and the phenomenon of literary neocolonialism behind its publication. L’Enfant noir is a novel published when Guinea was still under French colonization in the 1950s. It tells the story of a happy black child growing up in the middle of a beautiful Guinean countryside, that was completely untouched by the atrocities of colonialism. Upon its publication by Plon, a French publishing house, the novel received different responses from African and European readers. In Africa, it was perc

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Alba, Richard, and Roxane Silberman. "Decolonization Immigrations and the Social Origins of the Second Generation: The Case of North Africans in France." International Migration Review 36, no. 4 (2002): 1169–93. http://dx.doi.org/10.1111/j.1747-7379.2002.tb00122.x.

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Immigrations resulting from decolonization challenge the ability of researchers to track accurately the incorporation of the second generation through classifications based on country of origin. This article considers a classic example of such an immigration - from North Africa to France at the time of and after the independence of Algeria, Morocco, and Tunisia. This immigration was ethnically complex, composed - to take a rough cut - of the former colonists of European background (the pieds noirs) and low-wage laborers belonging to the indigenous population (the Maghrebins). A historical revi

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12

Smith, Steven G. "The Filter and the Viewer: On Audience Discretion in Film Noir." Film-Philosophy 28, no. 2 (2024): 375–94. http://dx.doi.org/10.3366/film.2024.0273.

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To the French critics who originally labelled certain films noir it seemed that a class of Hollywood products had gone darker during the war years – as though a dark filter had been placed over the lens. Films were not designed or marketed as noir, and retrospectively noir's status as a genre is still unsettled. Yet there is widespread interest today in experiencing diverse films as noir, and even in using a Noir Filter in Instagram and video games. Pursuing the filter clue, the noir experience can be thought of as subjection to a dark filtering of narrative. Image filtering styles can help to

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Winnington, G. Peter, and Stuart Olesker. "News Roundup." Peake Studies 14, no. 2 (2015): 33–41. http://dx.doi.org/10.1515/peakest-2015-0003.

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14

Conley, Tom. "The Roman noir in Post-War French Culture." French Studies 60, no. 4 (2006): 542–43. http://dx.doi.org/10.1093/fs/knl151.

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Kazanji, Mirdad, and Antoine Gessain. "Human T-cell Lymphotropic Virus types I and II (HTLV-I/II) in French Guiana: clinical and molecular epidemiology." Cadernos de Saúde Pública 19, no. 5 (2003): 1227–40. http://dx.doi.org/10.1590/s0102-311x2003000500002.

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We review here the epidemiological studies performed by our group on human retrovirus HTLV-I and HTLV-II infections and the associated diseases in French Guiana since 1984. French Guiana is an overseas French administrative district located between Brazil and Surinam. Its population is characterized by a large variety of ethnic groups, including several populations of African origin and various populations of Amerindian origin. Several epidemiological studies of large samples of pregnant women and in remote villages showed that HTLV-I is highly endemic in this area but is restricted to groups

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16

Zhang, Yingqi. "Analysis of Technological Development and Enhancement in Modern Film Noir." Art and Society 3, no. 3 (2024): 70–73. http://dx.doi.org/10.56397/as.2024.06.08.

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This paper explores the visual and technological evolution of film noir, particularly the transition from classic to modern film noir. Originally defined by French film critics, film noir is known for its distinctive low-key lighting and strong visual contrasts, emphasizing a mysterious and dramatic visual presentation. The article first compares low-key lighting in traditional and modern film noir, highlighting modern advancements in controlling lighting and shadows. It then examines color usage in both eras, noting modern noir’s use of low saturation and vivid colors for enhanced emotional i

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Miller, Christopher L. "The (Revised) Birth of Negritude: Communist Revolution and “the Immanent Negro” in 1935." PMLA/Publications of the Modern Language Association of America 125, no. 3 (2010): 743–49. http://dx.doi.org/10.1632/pmla.2010.125.3.743.

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For Several Decades, Scholars have Believed, for Lack of Evidence to the Contrary, That Négritude—One of the Key Terms of identity formation in the twentieth century—appeared in print for the first time in Aimé Césaire's Cahier d'un retour au pays natal (Notebook of a Return to the Native Land), in 1939. This consensus reflects a revision of what the cofounders (with Césaire) of the negritude movement, Léopold Sédar Senghor and Léon Damas, had remembered and stated. Senghor said in 1959 that “the word [négritude] was invented by Césaire in an article in the newspaper that bore the title L'Etud

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18

Eaton, Amanda J. "The Roman Noir in Post-War French Culture (review)." MLN 119, no. 4 (2004): 897–900. http://dx.doi.org/10.1353/mln.2004.0129.

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Cooper, Barbara T. "Le Docteur noir : A French Romantic Drama in Blackface." French Forum 28, no. 1 (2003): 77–90. http://dx.doi.org/10.1353/frf.2003.0030.

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20

Szilágyi, Ildikó. "Questions de forme et de genre en traduction poétique." Translationes 5, no. 1 (2013): 62–74. http://dx.doi.org/10.2478/tran-2014-0090.

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Abstract The present study examines modern and contemporary French poetry from the point of view of its translation into Hungarian. Firstly, the French and Hungarian traditions of poetic translation are summarized briefly. Then the possibility of translation of “verset” (long verse), not recognized in Hungarian poetry as a modern poetic genre, is discussed. Particular attention is called to the return of several contemporary French poets to traditional versification, and to the difficulties of Hungarian translators to suggest the importance of this return. Finally, the Hungarian translation of

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21

Petković, Rajko. "Claustrophobic Spaces and the Atmosphere of Fatalism in Robert Siodmak’s The Killers." CLOSED SPACES XIII, no. 43 (2022): 109–26. http://dx.doi.org/10.31902/fll.43.2022.6.

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Film noir is one of American cinema’s most renowned and well-studied phenomena. It is a cycle of films made during the 1940s and 1950s, mostly produced as B-movies, i.e., cheaper films presented as part of a double feature. This is one of the most important reasons why it took such a long time for American film scholars to address the importance of film noir. The first monograph on film noir, Panorama du film noir américain, was published in France in 1955, and this work by Borde and Chaumeton remains one of the most valuable studies covering this important cycle. Generally speaking, French fi

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22

Aleksandrova, G. "TRADITIONS OF FRENCH NOIR IN DANNIEL PENNAC’S NOVEL “THE SCAPEGOAT”." International Humanitarian University Herald. Philology 3, no. 46 (2020): 12–15. http://dx.doi.org/10.32841/2409-1154.2020.46-3.3.

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23

Astourian, Laure. "Jean Rouch’s Moi, un Noir in the French New Wave." Studies in French Cinema 18, no. 3 (2017): 252–66. http://dx.doi.org/10.1080/14715880.2017.1385324.

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Manditch-Prottas, Zachary. "Never Die Alone: Donald Goines, Black Iconicity, and Série Noire." MELUS: Multi-Ethnic Literature of the United States 48, no. 4 (2023): 1–26. http://dx.doi.org/10.1093/melus/mlad073.

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Abstract Depending on who you ask, Donald Goines is a pioneer of Black popular fiction or a purveyor of shoddy pulp. This duality is illustrative of an impasse between American intelligentsia and Goines’s folk readership. Goines wrote sixteen novels between 1971-74 that have remained in print for sixty years with sales in the millions. Yet Goines remains an understudied American author and unacknowledged in the transnational reach of his writing. This essay offers the first scholarly consideration of Donald Goines’s status as a transnational author. Specifically, I analyze Goines’s promotion a

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Ranjitha, K., B. N. S. Murthy, and E. R. Suresh. "Evaluation of New Grape Hybrids and French Cultivars for Wine Production." Journal of Horticultural Sciences 9, no. 1 (2014): 74–77. http://dx.doi.org/10.24154/jhs.v9i1.227.

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This study aimed at evaluating newly developed hybrids and recently introduced cultivars of French grapes grown in mild tropics of South India for quality wine production. Wines produced from French grapes, viz., Cabernet Sauvignon, Shiraz, Pinot Noir, Sauvignon Blanc, Chenin Blanc and Ugni Blanc scored 15.0 -16.8 in the Davis Score Card for organoleptic analysis. Wines from red Hybrid 18/10 possessed phenolic content of 2097mg/l, had a brilliant colour and sensory score of 13.1. Hybrid 23/2 gave good quality white, dry table wines with a sensory score of 13.4.

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Pierrot, Grégory. "Nègre (Noir, Black, Renoi, Négro)." Small Axe: A Caribbean Journal of Criticism 26, no. 2 (2022): 100–107. http://dx.doi.org/10.1215/07990537-9901668.

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This essay presents and studies five different words used in French to express the notion of Blackness. The five words analyzed—nègre, noir, black, renoi, and négro—entered the French language between the beginning of the Atlantic slave trade in the sixteenth century and the 1980s and were often borrowed from other languages. The way the terms have been and continue to be used illustrates France’s complicated and shifting relation to people of African descent, notably within its own population. In the context of culture wars that have been shaking the country in the past decades and have seen

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EXARCHOS, DIMITRIS. "The Skin of Spectral Time in Grisey's Le Noir de l’Étoile." Twentieth-Century Music 15, no. 1 (2018): 31–55. http://dx.doi.org/10.1017/s1478572218000051.

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AbstractFollowing the aesthetics of pure continuity in the late 1970s, Grisey moved on to compose for unpitched percussion in Tempus ex Machina, focusing on pure rhythm. Shortly afterwards he elaborated on his theory of temporality in a talk and article of the same title; one decade later, he included Tempus as the first movement of Le Noir de l’Étoile. Grisey insisted on the significance of the perception of musical time, of the skin of time – as opposed to its skeleton or flesh. This article puts forward an interpretation of Grisey's thinking of temporality, drawing on concepts from French p

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Breen. "Neither Algerian, nor French: Albert Camus’s Pied-Noir Identity." Mediterranean Studies 27, no. 2 (2019): 210. http://dx.doi.org/10.5325/mediterraneanstu.27.2.0210.

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29

Cafiero, Deborah. "‘Hard-Boiled’ Detectives in Spain and Mexico: The Ethical Reorientation of a Genre." Crime Fiction Studies 2, no. 2 (2021): 154–70. http://dx.doi.org/10.3366/cfs.2021.0044.

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Hard-boiled’ fiction arose in the early decades of the twentieth century, uncovering connections among crime, wealth and power, and exposing moral fissures within U.S. capitalism. After French publisher Gallimard marketed translations of American crime fiction as noir, international writers started adjusting the ethical framework of the original authors as part of their ‘glocal’ adaptation of a global genre to local circumstances. The present article pushes past ‘glocal’ analysis of noir to propose a ‘transnational’ relationship, adapting Paul Giles’ definition of ‘transnational’ practice in w

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Barlow, Jill. "London, Royal Academy of Music: Philippe Hersant." Tempo 58, no. 228 (2004): 76. http://dx.doi.org/10.1017/s0040298204350151.

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Philippe Hersant (b. 1948 in Rome, graduated Paris Conservatoire, studied with André Jolivet), has been working with the French national radio station France-Musique since 1973 and has received many honours as composer in France. In February 2004 Radio France presented a ‘retrospective’ of his prolific output as well as the première of his Violin Concerto, a Radio France commission. His new opera, Le Maine Noir, based on Anton Chekov's story, will be premièred in May 2005.

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Auger, J., M. Esterio, I. Pérez, W. D. Gubler, and A. Eskalen. "First Report of Phaeomoniella chlamydospora on Vitis vinifera and French American Hybrids in Chile." Plant Disease 88, no. 11 (2004): 1285. http://dx.doi.org/10.1094/pdis.2004.88.11.1285c.

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Phaeomoniella chlamydospora (W. Gams, Crous. M.J. Wingfield & L. Mugnai) Crous & Gams (= Phaeoacremonium chlamydosporum) was isolated during the growing seasons of 2003-2004 from roots, trunks, and cordons of grapevines, including cvs. Cabernet Sauvignon, Merlot, Pinot noir, Thompson seedless, Ruby seedless and root stock 3309C, and Kober 5BB, from 10 locations in V, VI, VII, and metropolitan regions of Chile. P. chlamydospora was isolated from 82% of samples from vines 2 to 18 years old that showed decline symptoms in the field. Isolates were identified on the basis of a previous desc

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32

Nettelbeck, Colin. "Journey to the End of French noir: the Case of Claude Chabrol." Australian Journal of French Studies 43, no. 1 (2006): 59–69. http://dx.doi.org/10.3828/ajfs.43.1.59.

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Lardeux, Pierre, Neil Glasser, Tom Holt, and Bryn Hubbard. "Glaciological and geomorphological map of Glacier Noir and Glacier Blanc, French Alps." Journal of Maps 12, no. 3 (2015): 582–96. http://dx.doi.org/10.1080/17445647.2015.1054905.

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Pearson, Sam. "The Femme Fatale’s Power: Constructed Transgression." Oregon Undergraduate Research Journal 23, no. 2 (2025): 28–33. https://doi.org/10.5399/uo/ourj/23.2.7.

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The femme fatale, stemming from a French term meaning “fatal woman,” is one of the most common female archetypes in popular culture. First emerging in classic film noir stories, the femme fatale is most well-remembered for her proclivity to manipulate and seduce the male lead. However, in classic noir tales, she frequently meets an unhappy end in her narrative—either imprisoned or dead by the end of the story. By comparing the femme fatales of both the film and short story versions of Gun Crazy, the film Too Late for Tears, and the novel The Postman Always Rings Twice, this research seeks to u

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35

JACQUELIN, ALICE. "Réalismes déclinistes du polar français contemporain : Nicolas Mathieu, Colin Niel, Antonin Varenne." Australian Journal of French Studies 58, no. 2 (2021): 137–50. http://dx.doi.org/10.3828/ajfs.2021.12.

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The detective novel has long been described as a form of “authentic” realistic literature (Collovald et Neveu). However, this article analyzes how three contemporary French crime novels—Aux animaux la guerre by Nicolas Mathieu (2014), Seules les bêtes by Colin Niel (2017) and Battues by Antonin Varenne (2015)—challenge and reappropriate conventions of realism. The three country noir novels follow in the lineage of two important traditions of realism, nineteenth-century French classical realism (Dubois) and the social realism of the 1970s and 1980s “néo-polar” (Desnain). Yet rather than anchori

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Shuman, Emily Q. "‘Tout de noir vêtu’: Skin and surface in the rap of Abd al Malik." French Cultural Studies 29, no. 3 (2018): 209–17. http://dx.doi.org/10.1177/0957155818773976.

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This paper investigates the visual aesthetics of French rap with regard to questions of race and subjectivity through an analysis of both the lyrics and music videos of the rapper Abd al Malik. Abd al Malik addresses the central question of corporeal visibility in a ‘colour-blind’ French society. His performance depicts the skin as a surface, rooting his corporeal subjectivity in a tactile experience. Through the use of light, oversaturated colour and constantly shifting forms, Abd al Malik’s videos test the limits of vision to create a sensorial experience that incorporates, yet transcends, t

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Hubbell, Amy L. "The Past is Present: Pied-Noir Returns to Algeria." Nottingham French Studies 51, no. 1 (2012): 66–77. http://dx.doi.org/10.3366/nfs.2012.0007.

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While Algeria has long been a popular subject for travel writers, since its decolonization in 1962, the travelogues documenting journeys to Algeria have predominantly become returns and reunions with the homeland. Immediately after their exile from Algeria during and after the war for independence, the Pieds-Noirs, or former French citizens of Algeria, began returning to their homeland in their memories, literature, and recently, their films. Early return narratives were almost always filled with nostalgic descriptions of familiar places and sensations in an effort to bridge over the ruptures

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Bhat, Rifat, Sharbat Hussain, Muzaffara Akhter, F. A. Banday, and M. K. Sharma. "Influence of Intercrops on Cropping, Quality and Relative Economic Yield of Sweet Cherry cv. Bigarreau Noir Grossa (Misri)." Journal of Applied Biotechnology 4, no. 2 (2016): 10. http://dx.doi.org/10.5296/jab.v4i2.9432.

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<p>An experiment was conducted to assess the impact of different intercrops like maize, pea, strawberry, cabbage, red clover, french bean, oats and maize on cropping, quality and relative economic yield of cherry cv. Misri under Kashmir conditions. The results obtained revealed significant improvement in cherry trees intercropped with leguminous crops like pea, red clover and french bean than clean cultivation and heavy feeder crops (requiring high level of soil nutrients) like strawberry, cabbage, oats and maize. Highest per cent fruit set, fruit maturity, fruit yield and fruit physico-

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Muresan, Maria Rusanda. "Wittgenstein in Recent French Poetics: Henri Meschonnic and Jacques Roubaud." Paragraph 34, no. 3 (2011): 423–40. http://dx.doi.org/10.3366/para.2011.0034.

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Two recent French poets, Henri Meschonnic and Jacques Roubaud, have found in Wittgenstein's philosophy an alternative to post-structuralist poetics. Meschonnic's poetry and his theoretical writings show a sustained critical engagement with Wittgenstein, whom he reads in conjunction with Emile Benveniste. The writers inform his theory of poetic rhythm and his practice of biblical translation. Roubaud's use of Wittgenstein, by contrast, here examined in the collection Quelque chose noir (1984), is linked partly with the poet's grief following the death of his wife Alix Cléo Roubaud, a photograph

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Tarnowski, Andrea. "Le temps signifiant et le Moyen Âge français." Studia Romanica Posnaniensia 48, no. 1 (2021): 5–15. http://dx.doi.org/10.14746/strop.2021.481.001.

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An analysis of “weather events” and their meaning in works of French medieval literature – La Chanson de Roland, Le Chevalier au lion, Le Roman de la rose, Le Livre du Cuer d’amours espris and Le Debat d’entre le gris et le noir – finds different forms of interaction between the outside world and human beings. Whether a connection between man and nature is mediated by God, set by the human arrangement of or incursion into a natural setting, or left so loose as to suggest nature’s indifference to human witness, weather contributes to the picture.

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Agar, Trudy. "A Gnostic Noir: Y.B.'s Explication of the Algerian Crisis." French Forum 48, no. 1 (2023): 93–107. http://dx.doi.org/10.1353/frf.2023.a932970.

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Abstract: The Algerian writer Y.B. (Yassir Benmiloud) originally established himself as a satirical journalist and critic of the Algerian regime before publishing his first novel, L'Explication , from exile in Paris in 1999. Although it was met with a relative lack of critical attention, reserved more for his third novel Allah Superstar (2003), which examines the place of Muslims in post 9/11 France, L'Explication is a dynamic reimagining of noir that "others" the classically Western genre. While respecting many of the tropes of detective and noir fiction, including the gradual unveiling of th

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Gorrara, Claire. "Cultural Intersections: The American Hard-Boiled Detective Novel and Early French roman noir." Modern Language Review 98, no. 3 (2003): 590. http://dx.doi.org/10.2307/3738287.

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Chugunova, Olga, Aleksandr Arisov, Vladislav Tiunov, and Anton Vyatkin. "Terroir Influence on the Antioxidant Activity of Grape Wines." Food Industry 7, no. 3 (2022): 84–94. http://dx.doi.org/10.29141/2500-1922-2022-7-3-9.

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The article analyzes the global wines production and consumption in the period from 2000 to 2020. The authors studied the total antioxidant activity of 19 samples of red wine from the Old and New World. They found that in the studied red wine samples, the total antioxidant activity value was in the range from 8,408 to 19,249 mmol-eq/dm3 . In red Old-World wines samples, the total antioxidant activity values were in the range from 10.056 to 19.249 mmol-eq/dm3 , while the highest were in red wines produced in Italy from the grape varieties Nero di Troia, Corvina and Rondinella, as well as in Fre

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Pacifico, D., A. Alma, B. Bagnoli, et al. "Characterization of Bois Noir Isolates by Restriction Fragment Length Polymorphism of a Stolbur-Specific Putative Membrane Protein Gene." Phytopathology® 99, no. 6 (2009): 711–15. http://dx.doi.org/10.1094/phyto-99-6-0711.

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Bois noir phytoplasma (BNp), widespread in wine-producing areas of Europe and endemic in France and Italy, is classified in the 16SrXII-A subgroup, whose members are referred to as Stolbur phytoplasmas. The 16S rDNA gene of Stolbur phytoplasma shows low variability, and few non-ribosomal genes are available as markers to assess variation among isolates. We used the Stolbur-specific stol-1H10 gene, encoding a putative membrane-exposed protein, to investigate genetic diversity of French and Italian BNp isolates from plants and insects. Amplification of stol-1H10 from infected grapevines, weeds,

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Segurel, Marie A., Raymond L. Baumes, Dominique Langlois, Christine Riou, and Alain Razungles. "Role of Glycosidic Aroma Precursors on the odorant profiles of Grenache noir and Syrah Wines from the Rhone valley. Part 2: characterisation of derived compounds." OENO One 43, no. 4 (2009): 213. http://dx.doi.org/10.20870/oeno-one.2009.43.4.794.

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<p style="text-align: justify;"><strong>Aims</strong>: Grenache noir and Syrah are the predominant grape varieties in the French Rhone valley vineyard. This study aimed at identifying the odorants generated from glycoconjugates extracted from wines made with Grenache noir and Syrah.</p><p style="text-align: justify;"><strong>Methods and results</strong>: Synthetic model wines enriched with glycoconjugates, treated or not with enzymes, were stored at 45 °C for 3 weeks, or at 13 °C for 18 months. Aromas generated were extracted and analyzed by GC-Olfacto

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Anderson, Samuel D. "The French Médersa in West Africa: Modernizing Islamic Education and Institutionalizing Colonial Racism, 1890s–1920s." Islamic Africa 11, no. 1 (2020): 42–70. http://dx.doi.org/10.1163/21540993-01101002.

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Abstract This article examines the origins and development of colonial Franco-Muslim education, with specific reference to the Médersa of Saint-Louis in Senegal. Often described as a failed experiment on the part of the French administration, the médersa nevertheless marked the first effort to “modernize” Islamic education in West Africa. This article argues that the médersa evolved, and eventually closed, in tandem with local engagement and the establishment of the racist idea of islam noir. It also highlights the role of Algerians and the Algerian médersa system in West Africa to argue for t

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Ediani, Arwatrisi, and Sajarwa. "DEIXES OF MEMORY IN STENDHAL'S NOVEL 'LE ROUGE ET LE NOIR'." Leksema: Jurnal Bahasa dan Sastra 7, no. 2 (2022): 109–20. http://dx.doi.org/10.22515/ljbs.v7i2.5499.

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Contexts in the identification of referents can be developed from external reality to cognitive reality or memory marked by the French demonstrative determinants ce, cet, cette, and ces as deixes of memory. Information in memory deixis referents can be categorized into the different statuses of information for the hearer, i.e. new information and old information. This study employed the qualitative-descriptive method with the data obtained from the novel Le Rouge et le Noir (1830) written by Stendhal. The study’s findings show that memory deixis referents can be identified through the way they

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O'Beirne, Emer. "The 'Roman Noir' in Post-War French Culture: Dark Fictions by Claire Gorrara (review)." Modern Language Review 100, no. 1 (2005): 221–22. http://dx.doi.org/10.1353/mlr.2005.0060.

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Ghenim, Neema. "HYBRIDITY AND OTHERNESS IN ALGERIAN POSTCOLONIAL LITERATURE." Social Sciences, Humanities and Education Journal (SHE Journal) 1, no. 3 (2020): 103. http://dx.doi.org/10.25273/she.v1i3.7615.

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<p>The paper considers the dualistic existence between the Self and the Other during the Great War. Algerian participation in the war was compulsory and many authors wrote about the event.: Albert Camus, a Frenchman who belonged to a pied-noir family, Mohamed Ben Chérif, an Arab from Djelfa, and Elissa Rhaïs, a Jewish writer from Blida. <em>The First Man </em>(1994), Camus’s book, deals with the French who were reluctant participants in war. Mohamed Ben Chérif also published his first book, <em>Ahmed Ben Mostapha Goumier</em> (1997) that represents those Algerians

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Okamoto, Monica Setuyo. "O Realismo-Naturalismo de Stendhal e Shimazaki Tôson. Uma análise psicológica das personagens centrais: Julien e Ushimatsu." Estudos Japoneses, no. 33 (November 25, 2013): 45–61. http://dx.doi.org/10.11606/issn.2447-7125.v0i33p45-61.

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This article focuses, comparatively, the central characters of books Hakai (The Broken Commandment, 1906) Japanese writer Shimazaki Tōson and Le Rouge et le Noir (The Red and the Black, 1830) of the French realist Stendhal. Although the Japanese Realism-Naturalism received greater influence of Guy de Maupassant and German authors, noted many similarities between the works of Stendhal and Tōson which will be exposed in this article. We emphasize, however, that the comparative study here will be restricted to the analysis of social role and psychological profile of the two characters, Ushimatsu

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