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Journal articles on the topic 'La Gazette de Paris'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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1

Coudart, Laurence. "Presse et contre-révolution : la correspondance de la Gazette de Paris." Histoire & Mesure 1, no. 3 (1986): 209–28. http://dx.doi.org/10.3406/hism.1986.1537.

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2

Roth, Christine. "The Narrative Promise: Redesigning History in La Gazette du Vieux Paris." CEA Critic 78, no. 1 (2016): 116–28. http://dx.doi.org/10.1353/cea.2016.0006.

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3

Coudart, Laurence. "Formes du discours, structure du journal : l'exemple de La Gazette de Paris." Annales historiques de la Révolution française 303, no. 1 (1996): 49–66. http://dx.doi.org/10.3406/ahrf.1996.1832.

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4

Niedziela, Rafał. "Wybuch wulkanu Laki i jego skutki dla Francji (1783-1784) w świetle wybranych doniesień prasowych." Studia Historyczne 60, no. 1 (237) (2018): 5–24. http://dx.doi.org/10.12797/sh.60.2017.01.01.

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The Eruption of the Laki Volcano and Its Impact on France (1783-1784) in Selected Press Accounts This article is devoted to the phenomenon of the eruption of Laki volcano in Iceland in 1783 and the impact this eruption had on France in the form of toxic fog and chilling of climate. This account is based on contemporary French press, in particular such titles as „Gazette de France”, „Journal de Paris”, „Le Courrier”, as well as the Polish „Pamiętnik Historyczno-Polityczny”.
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5

Coudart, Laurence. "La gazette de Paris (1789-1792) [Un aspect de la Contre-Révolution pendant la monarchie constitutionnelle ]." Annales historiques de la Révolution française 297, no. 1 (1994): 588–90. http://dx.doi.org/10.3406/ahrf.1994.3406.

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6

Murphy, Kerry. "Attribution of some unsigned articles of Berlioz in theRevue et Gazette Musicale de Paris(1834–1837)." Musicology Australia 8, no. 1 (1985): 39–48. http://dx.doi.org/10.1080/08145857.1985.10415151.

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7

Murphy, Kerry. "Music criticism in nineteenth-century France:La Revue et gazette musicale de Paris, 1834–1880 by Katharine Ellis." Musicology Australia 20, no. 1 (1997): 112–14. http://dx.doi.org/10.1080/08145857.1997.10415978.

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8

Huebner, Steven. "Music Criticism in Nineteenth-Century France: "La Revue et Gazette musicale de Paris," 1834-80 . Katharine Ellis ." Journal of the American Musicological Society 51, no. 1 (1998): 163–68. http://dx.doi.org/10.1525/jams.1998.51.1.03a00070.

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9

BUJIC, B. "Review. Music Criticism in Nineteenth-Century France: 'La Revue et Gazette musicale de Paris', 1834-1880. Ellis, Katharine." French Studies 51, no. 2 (1997): 214. http://dx.doi.org/10.1093/fs/51.2.214.

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10

Rutkovskiy, A. "Elephant transformation of the mammary glands." Journal of obstetrics and women's diseases 6, no. 12 (2020): 1246–47. http://dx.doi.org/10.17816/jowd6121246-1247.

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In view of the extreme rarity of this disease (the author was able to find in the literature only one case of Roussaeux in the Gazette medicale de Paris, 1857), I will cite the history of the disease with a photograph literally: on April 22, a peasant N; 21 years old, medium build, pretty, with delicate white skin, correctly developed. As a child, she did not get sick with special diseases; there are no hereditary diseases or syphilis in the family. Menstruation from 14 years in the correct 3-week terms, 3-5 days. She got married at 20 and soon became pregnant. Gave birth on time 5 months ago. She got sick at the end of pregnancy. At 7 months, I noticed a particular enlargement of the right breast with thickening of the skin near the nipple.
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11

Parkins, Ilya. "Domesticating enchantment: Mediating feminine magic in the interwar French fashion magazine." French Cultural Studies 28, no. 4 (2017): 344–59. http://dx.doi.org/10.1177/0957155817721681.

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This article examines men’s writing about women as vectors of enchantment in three interwar French women’s magazines, La Femme Chic à Paris, Vogue and Gazette du Bon Ton. Such articles appeared frequently, and modernised the ancient discourse of feminine enchantment by locating it in tropes of industrial modernity, including women’s fashion and style. While enchantment is a promising concept for feminist and critical scholars, its representation in this genre of men’s writing domesticates its potential to disorient and challenge masculine subjects and conventional knowledges. The essay explores how the generic qualities of the modern women’s magazine contribute to such a domestication, and shows that tropes of modern alienation appear as the underside of feminine enchantment. The analysis suggests that we must view the women’s magazine not as women’s space, but as a heterogeneous cultural space that intermittently reinforces masculine authority.
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12

Huebner, Steven. "Review: Music Criticism in Nineteenth-Century France: La Revue et Gazette musicale de Paris, 1834-80 by Katharine Ellis." Journal of the American Musicological Society 51, no. 1 (1998): 163–68. http://dx.doi.org/10.2307/831902.

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13

Wright, Lesley Alison. "Paris: A Musical Gazetteer (review)." Notes 57, no. 3 (2001): 608–9. http://dx.doi.org/10.1353/not.2001.0066.

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14

Davison, Rosena. "A French Troupe in Naples in 1773: A Theatrical Curiosity." Theatre Research International 10, no. 1 (1985): 32–46. http://dx.doi.org/10.1017/s0307883300010476.

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On January 2nd 1773 the abbé Galiani wrote to his friend in Paris, Mme d'Epinay: ‘Qu'on voie Paris et Naples, on verra une légère esquisse du tout et du néant.’ He is referring to the dearth of interesting people and events he found on returning to his native Naples, in contrast to the flourishing social and cultural life which he had enjoyed with his many friends in Paris. Forced to leave the post he had held for ten years as secretary to the ambassador of the Kingdom of Two Sicilies because of a diplomatic blunder, Galiani dreaded his return to Naples, and his letters constantly complain of the intolerable conditions of what he termed his ‘exile’. While prone to a certain amount of exaggeration in his letters – thereby hoping to provoke sympathy amongst his Parisian correspondents – Galiani nevertheless had cause to complain of the intellectual ‘desert’ in which he now found himself. This is how he expressed it to Mme d'Epinay, his closest and most faithful correspondent:Si vous ne me rendez pas ma gaîté, je n'écrirai plus à personne; car ici je n'ai rien qui me tourmente, si ce n'est que je n'ai ni d'amusements, ni de plaisirs, ni d'amis, ni d'écoliers, ni de dîners, ni de soupers, ni d'argent, ni de vanité, ni de gaîté, ni d'affaires agréables, ni d'amours. (I, 50–1)It is therefore not surprising that an unusual theatrical event in Naples shook him out of the apathy into which he had retreated, and temporarily at least filled the Neapolitan ‘néant’ of which he complained. This was the arrival of a French theatre company; and for approximately two and a half months, from early January to mid-March 1773, Galiani's letters to Mme d'Epinay were almost entirely devoted to what he enthusiastically called his ‘Gazette des Spectacles’. The event could not fail to capture his undivided attention. The company, directed by Sennepart, was to perform seventeenth- and eighteenth-century French plays at the Teatro dei Fiorentini. Apart from delighting Galiani, this brief episode of theatrical history provides us with some interesting insights into the taste in drama, both French and Italian, at the mid-way point of the second half of the eighteenth century. In this article we propose to examine the choice of plays, and the reactions of the Neapolitan audiences, as reported by Galiani who, with his thorough and up-to-date knowledge of the French theatre and of the milieu which had inspired it, frequently amazes (and amuses) us with the perspicacity of the comments in his ‘Gazette’.
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15

Loughridge, Deirdre. "Making, Collecting and Reading Music Facsimiles before Photography." Journal of the Royal Musical Association 141, no. 1 (2016): 27–59. http://dx.doi.org/10.1080/02690403.2016.1151232.

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ABSTRACTFacsimiles of musical autographs are typically thought to require photography, and to have a primary purpose of clarifying composers’ intentions. But there was a robust culture of music facsimile prior to photography. Made by transfer lithography, these facsimiles served different purposes and reading habits. The activity of collecting handwriting samples was paramount, as was the idea that handwriting was a mirror of character. This article surveys ways of using and finding meaning in composer autographs in the 1820s to the 1840s, focusing especially on music facsimiles in Paris. Here, composers used facsimiles to help shape their public image, and publishers used them to entice consumers. When facsimiles reproduced documents of friendship, they crossed private and public expression in ways that could be advantageous or problematic, as seen through a look at the publication in facsimile of a Rossini waltz by the Revue et gazette musicale and the ensuing legal battles.
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16

Marta, Mion, and Alexandre Enrico. "A travel between the Corpus Hippocraticum and the Gazette médicale de Paris: vestibology from its origins to the nineteenth century." Hearing, Balance and Communication 15, no. 3 (2017): 107–12. http://dx.doi.org/10.1080/21695717.2017.1338441.

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17

Capron, Loïc. "Un miroir du mépris : Guy Patin contre Théophraste Renaudot (1638-1648)." Acta Universitatis Lodziensis. Folia Litteraria Romanica, no. 15 (December 30, 2020): 123–37. http://dx.doi.org/10.18778/1505-9065.15.09.

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De 1638 à 1648, tout a opposé les deux médecins parisiens Théophraste Renaudot (1586-1653) et Guy Patin (1601-1672) : empirisme contre dogmatisme, paracelsisme contre galénisme, arrivisme politique contre mépris de la cour royale, Université de Montpellier contre Faculté de médecine de Paris… Sans doute attisé par leur ancienne camaraderie, leur duel a produit un foisonnement de libelles, auxquels s’ajoutèrent procès et pieds de nez dans un déchaînement réciproque de haine et de dédain. En 1643, après la mort de Richelieu et de Louis XIII, Patin pouvait impunément injurier son ennemi désarmé ; en disgrâce à la cour, Renaudot dut s’avouer vaincu. À la fin du XIXe siècle s’engagea une joute posthume entre les deux ennemis : Patin pour ses Lettres caustiques (rééditées en 1846) et Renaudot pour son invention du journalisme en France (La Gazette créée en 1631). L’opinion plaça le journaliste sur un piédestal et le fit jouir d’une immense célébrité en attachant son nom à celui d’un prix littéraire (1926).
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18

Slavova, Petya. "Olivier Favereau (s. la dir.), Les avocats, entre Ordre professionnel et Ordre marchand. Paris: Gazette du Palais – Lextenso éditions, 2010, 222 p." Canadian journal of law and society 27, no. 2 (2012): 280–82. http://dx.doi.org/10.1017/s0829320100000788.

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19

Majer, Michele. "Ariane James-Sarazin and Régis Lapasin,Gazette des atours de Marie-Antoinette: Garde-robe des atours de la reine: Gazette pour l'année 1782. Paris: Réunion des Musées Nationaux for the Archives Nationales, 2006. 89 pp., 85 color pls., gloss., bibliog. € 30." Studies in the Decorative Arts 17, no. 1 (2009): 225–26. http://dx.doi.org/10.1086/652676.

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20

KADAR, NICHOLAS, and RUSSELL D. CROFT. "Why Semmelweis's doctrine was rejected: evidence from the first publication of his results by Friedrich Wieger, and an editorial commenting on the results." British Journal for the History of Science 53, no. 3 (2020): 389–95. http://dx.doi.org/10.1017/s0007087420000229.

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AbstractWe present English translations of two French documents to show that the main reason for the rejection of Semmelweis's theory of the cause of childbed (puerperal) fever was because his proof relied on the post hoc ergo propter hoc fallacy, and not because Joseph Skoda referred only to cadaveric particles as the cause in his lecture to the Academy of Science on Semmelweis's discovery. Friedrich Wieger (1821–1890), an obstetrician from Strasbourg, published an accurate account of Semmelweis's theory six months before Skoda's lecture, and reported a case in which the causative agent originated from a source other than cadavers. Wieger also presented data showing that chlorine hand disinfection reduced the annual maternal mortality rate from childbed fever (MMR) from more than 7 per cent for the years 1840–1846 to 1.27 per cent in 1848, the first full year in which chlorine hand disinfection was practised. But an editorial in the Gazette médicale de Paris rejected the data as proof of the effectiveness of chlorine hand disinfection, stating that the fact that the MMR fell after chlorine hand disinfection was implemented did not mean that this innovation had caused the MMR to fall. This previously unrecognized objection to Semmelweis's proof was also the reason why Semmelweis's chief rejected Semmelweis's evidence.
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21

Bozanic, Snezana, and Ana Elakovic-Nenadovic. "From the “personal dossier” of dr. Adolf Hempt: From school time to the retirement." Zbornik Matice srpske za drustvene nauke, no. 170 (2019): 195–212. http://dx.doi.org/10.2298/zmsdn1970195b.

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The paper analyzes the professional movements, the scientific and professional work of Dr. Adolf Hempt, one of the leading rabiologists in Yugoslavia and in the world. The research is based on the well-preserved and unexplored personal dossier of Dr. Adolf Hempt, which is kept in the Archive of Vojvodina (Novi Sad). From the rich source of material, the authors selected the documents that partircularly highlight his life in Lukavac, then certificates of his scientific and professional engagement in Vienna, Paris and Budapest (1910-1912), testimony about the preparations for his participation in the First International Conference on Rabies, and many letters written by Hempt himself. His Curriculum Vitae of 26 August, 1921, and two copies of Official gazette (from 1926 and 1932) should be particularly mentioned. The original material is in Serbian, German and Latin. Dr. Hempt lived or spent longer or shorter periods of his life, researching and improving himself, in Novi Sad, Sarajevo, Graz, Munich, Vienna, Gross-Enzersdorf, Lukavac, Paris, and Budapest. His professional career can be tracked through several stages. He was a military doctor in peace (1898-1905) and at war (1914-1918). His arrival in Lukavac coincides with the socio-economic development and the rise of this small town. He worked here as a factory, municipal, and railway doctor (1905-1921). Working on the eradication of infectious diseases and epidemics, he left an indelible mark on the history of health care and culture in Bosnia and Herzegovina. From 1908 until the beginning of the First World War, he was engaged in the launch of the Pasteur Institute in Bosnia and Herzegovina. After he moved to Novi Sad, as a founder and administrator of the Pasteur Institute, he wrote scientific papers, travelled and explored. This paper deals with a series of lesser known and unknown facts which complements and illuminates the biography of Dr. Adolf Hempt.
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22

Macdonald, H. "Review of books. Paris: a Musical Gazetteer. N Simeone." Music and Letters 82, no. 3 (2001): 465–66. http://dx.doi.org/10.1093/ml/82.3.465.

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23

Johnson, James H. "Book ReviewsMusic Criticism in Nineteenth‐Century France: “La Revue et Gazette musicale de Paris,” 1834‐1880. By Katharine Ellis. Cambridge: Cambridge University Press, 1995. Pp. xiii+301." Journal of Modern History 71, no. 3 (1999): 717–18. http://dx.doi.org/10.1086/235319.

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24

Mrozowicki, Michał Piotr. "O francuskiej recepcji „Tannhäusera” w latach 1845–1861." Muzyka 66, no. 2 (2021): 37–72. http://dx.doi.org/10.36744/m.905.

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Tematem artykułu jest francuska recepcja Tannhäusera, ze szczególnym uwzględnieniem różnych okoliczności słynnej paryskiej realizacji dzieła w marcu 1861 roku w Salle Le Peletier, szesnaście lat po jego prapremierze w Dreźnie. Autor zwraca uwagę, że w ciągu tych szesnastu lat Francuzi mogli zdobyć pewną wiedzę o twórczości Wagnera i jej entuzjastycznym odbiorze (artykuł Liszta w Journal des débats z 18 maja 1849 r. oraz jego książka „Lohengrin” i „Tannhaüser” de Richarda Wagnera opublikowany po francusku w Lipsku w 1851 r.) i krytyczny (artykuły François-Josepha Fétisa opublikowane w Revue et Gazette musicale de Paris od 6 czerwca do 8 sierpnia 1852 r.).Wykonanie uwertury do Tannhäusera na koncercie Orkiestry Towarzystwa św. Cecylii 24 listopada 1850 r., choć dalekie od ideału, pomogło położyć podwaliny pod francuski wagneryzm.Francuska premiera Tannhäusera odbyła się w Strasburgu 12 lipca 1855 roku. Utwór wykonał po niemiecku koloński zespół operowy pod dyrekcją Ferdinanda Rödera. Francuskie gazety były dość powściągliwe w tej sprawie.Pomysł wystawienia Tannhäusera w Paryżu zrodził się dwa lata później. We wrześniu 1857, w odpowiedzi na propozycje z Niemiec, kompozytor i impresario Léopold Amat, były dyrektor teatralny les Bouffes-Parisiens, zorganizował musicale i inne atrakcje w Homburgu, Ems i Wiesbaden. Podczas „festiwalu muzycznego” w Wiesbaden, 24 września 1857 roku, Tannhäuser Ryszarda Wagnera został wykonany przed ekskluzywną publicznością, w skład której weszło wielu zaproszonych przez organizatorów paryskich dziennikarzy. Goszcząc w Wiesbaden licznych przedstawicieli paryskiej prasy i pokazując im operę Wagnera, Amat chciał zainteresować francuską opinię publiczną dziełem niemieckiego kompozytora, mając nadzieję, że w niedalekiej przyszłości może być wystawiona w Paryżu. Dziennikarze paryscy byli zachwyceni programem muzycznym i towarzyszącymi atrakcjami, ale ich wrażenia z wystawienia Tannhäusera, zamierzonego jako punkt kulminacyjny uroczystości, nie były entuzjastyczne, o czym świadczą przytoczone w tym artykule recenzje. W konsekwencji projekty Amata spełzły na niczym.W dalszej części artykułu przedstawiono wydarzenia związane z paryską recepcją Tannhäusera w latach 1860 i 1861. Autorka omawia recenzje trzech koncertów wagnerowskich, które odbyły się w Théâtre-Italien – Salle Ventadour w styczniu i lutym 1860 roku, a zwłaszcza paryskiej premiery opery: odpowiedzi na takie pytania, jak okoliczności podjęcia decyzji o występie w Operze Paryskiej, problemy z francuskim tłumaczeniem libretta, relacje Wagnera z dyrygentem, orkiestrą i innymi pracownikami Opery Paryskiej, trzy marcowe spektakle Tannhäusera, główne przyczyny jego niepowodzenia i niejednoznaczne konsekwencje tego niepowodzenia, a także przeglądy prasy. Artykuł kończy się proroczymi słowami Baudelaire'a zapowiadającymi przyszłą rehabilitację Tannhäusera w Paryżu.
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25

Guimarães, Valéria Dos Santos. "Imaginários do sensacionalismo: transferências culturais entre Brasil e França no início do século XX." Letras, no. 47 (November 23, 2013): 97. http://dx.doi.org/10.5902/2176148511757.

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O objetivo é analisar narrativas sobre o sobrenatural e mostrar como o imagináriodesse tema universal percorre jornais franceses e brasileiros, em diversos formatos (faitsdivers, crônicas literárias, crítica etc.), articulando-se ao contexto específico de recepção.Escolhemos os casos dos jornais Gazeta de Notícias do Rio de Janeiro e Le Figaro de Paris paraabordar as transferências culturais entre os dois países. Ao mesmo tempo, mostramosque a circulação de temas tem múltiplas direções, passando por diversos suportes,formatos e gêneros, constituindo os imaginários do sensacionalismo que, a despeito daestandardização, podem e devem ser apreendidos historicamente.
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26

Schneider, Robert A. "L’information dans la France du XVIIe siècle: La Gazette de Renaudot de 1647 à 1663. By Stéphane Haffemayer. Bibliothèque d’histoire moderne et contemporaine, volume 6. Edited by, Yves‐Marie Bercé and Jean‐Luc Quantin. Paris: Champion, 2002. Pp. 848." Journal of Modern History 76, no. 2 (2004): 447–49. http://dx.doi.org/10.1086/422950.

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27

Brintnall, Michael, and Allan Rosenbaum. "Gazette." Journal of Public Affairs Education 4, no. 4 (1998): 317–32. http://dx.doi.org/10.1080/15236803.1998.12022044.

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Brintnall, Michael. "Gazette." Journal of Public Affairs Education 5, no. 2 (1999): 189–203. http://dx.doi.org/10.1080/15236803.1999.12022068.

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Brintnall, Michael, and Alma Beals. "Gazette." Journal of Public Affairs Education 5, no. 4 (1999): 345–61. http://dx.doi.org/10.1080/15236803.1999.12022088.

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Brintnall, Michael. "Gazette." Journal of Public Affairs Education 6, no. 2 (2000): 131–46. http://dx.doi.org/10.1080/15236803.2000.12023468.

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31

Joubert, Estelle. "‘Distant Reading’ in French Music Criticism." Nineteenth-Century Music Review, February 26, 2021, 1–25. http://dx.doi.org/10.1017/s1479409820000476.

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This article offers a series of experiments exploring the potential for ‘distant reading’ in French music criticism. ‘Distant reading’, a term first coined by literary theorist Franco Moretti, refers to quantitative approaches that allow for new insights into a large corpus of texts by aggregating data. While the main corpus employed here is the Revue et gazette musicale de Paris (1831–1877), I also use secondary corpora of reviews of Félicien David's Herculanum in 1859, Berlioz's reviews of Gluck and Beethoven in the Journal des débats and reviews that mention Gabriel Fauré in the Library of Congress’ Chronicling America database. My experiments employ a text analysis tool named Voyant, built by Geoffrey Rockwell and Stéfan Sinclair, thereby also offering a basic introduction to the range of visualizations employed in distant reading. My experiments focus on areas in which quantitative methods are particularly well suited to generating new knowledge: corpus-wide visualizations and queries, moving beyond traditional text searching, investigations of music critics’ authorial styles and detecting sentiment in reviews, and finally, to geographies of music criticism.
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Stead, Evanghelia. "Les Périodiques comme médiateurs." Journal of European Periodical Studies 4, no. 2 (2019). http://dx.doi.org/10.21825/jeps.v4i2.15756.

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Ce numéro spécial émane du 7e colloque annuel de la European Society for Periodical Research (ESPRit), qui portait sur ‘Les Périodiques comme médiateurs: les périodiques dans l’écosystème de la culture imprimée et visuelle’. L’événement, dont l’organisation à Paris m’a été confiée, s’est tenu à la Bibliothèque nationale de France, à l’Inalco et à l’université Paris-Sorbonne en juin 2018. Cette manifestation bilingue, qui a réuni des chercheurs jeunes et confirmés, a analysé les rôles complexes des périodiques dans un riche éventail de contextes et milieux culturels et scientifiques, sous plusieurs angles: histoire de la littérature, histoire de l’art, presse et médias, études visuelles, littérature comparée, études théâtrales, cultures scientifiques, études de traduction et de réception. Une large palette de publications en série a été examinée: revues, magazines, gazettes, cahiers, suppléments, annales, anthologies, collections, quotidiens, voire une émission radiophonique. Ce numéro spécial propose un choix de contributions, développées en articles de recherche. En les présentant et en rappelant les arguments et thèmes du colloque, l’introduction offre un aperçu des enquêtes, et met en valeur quelques hypothèses signifiantes pour les études sur les périodiques aujourd’hui.
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"Gazette." Veterinary Record 171, no. 12 (2012): 302.2–302. http://dx.doi.org/10.1136/vr.e6198.

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"Gazette." Veterinary Record 171, no. 17 (2012): 428.3–428. http://dx.doi.org/10.1136/vr.e7213.

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"Gazette." Veterinary Record 173, no. 8 (2013): 198. http://dx.doi.org/10.1136/vr.f5242.

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"Gazette." PS: Political Science & Politics 32, no. 01 (1999): 165–72. http://dx.doi.org/10.1017/s1049096500049192.

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"Gazette." PS: Political Science & Politics 32, no. 02 (1999): 315–23. http://dx.doi.org/10.1017/s1049096500049726.

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"Gazette." PS: Political Science & Politics 31, no. 04 (1998): 934–51. http://dx.doi.org/10.1017/s1049096500053865.

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"Gazette." PS: Political Science & Politics 44, no. 04 (2011): 885–98. http://dx.doi.org/10.1017/s1049096511001582.

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"Gazette." PS: Political Science & Politics 45, no. 01 (2012): 189. http://dx.doi.org/10.1017/s1049096511002010.

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Abstract:
Eight new members of the APSA council were elected last fall. The new members are Paul Gronke, Reed College; Ange-Marie Hancock, University of Southern California; David A. Lake, University of California, San Diego; Taeku Lee, University of California, Berkeley; Kenneth J. Meier, Texas A&M University; Kathleen Thelen, Massachusetts Institute of Technology; Stephen M. Walt, Harvard University; and Angelia R. Wilson, University of Manchester.
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"Gazette." PS: Political Science & Politics 31, no. 03 (1998): 722–29. http://dx.doi.org/10.1017/s1049096500055347.

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"Gazette." PS: Political Science & Politics 33, no. 01 (2000): 123–30. http://dx.doi.org/10.1017/s1049096500055670.

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"Gazette." PS: Political Science & Politics 32, no. 04 (1999): 845–57. http://dx.doi.org/10.1017/s1049096500057048.

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"Gazette." PS: Political Science & Politics 33, no. 02 (2000): 287–99. http://dx.doi.org/10.1017/s1049096500061321.

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"Gazette." PS: Political Science & Politics 33, no. 04 (2000): 968–81. http://dx.doi.org/10.1017/s1049096500062557.

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"Gazette." PS: Political Science & Politics 42, no. 01 (2009): 251–52. http://dx.doi.org/10.1017/s1049096509090404.

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"Gazette." PS: Political Science & Politics 43, no. 02 (2010): 396–405. http://dx.doi.org/10.1017/s1049096510000417.

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"Gazette." Journalism Educator 48, no. 4 (1993): 91–96. http://dx.doi.org/10.1177/107769589304800414.

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"Gazette." Journalism Educator 49, no. 1 (1994): 95–96. http://dx.doi.org/10.1177/107769589404900112.

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"Gazette." Journalism Educator 49, no. 2 (1994): 94–96. http://dx.doi.org/10.1177/107769589404900213.

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